The Favorite Game 1St Edition Pdf, Epub, Ebook
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
From Chaos to Art Postmodernism in the Novels of Leonard Cohen
Ghent University Faculty of Arts and Philosophy From Chaos to Art Postmodernism in the Novels of Leonard Cohen Paper submitted in partial fulfilment of the requirements for the degree of “Master of Arts in Linguistics and Supervisor: Literature: Dutch – English” by Prof. Dr. Sandro Jung August 2011 Dries Vermeulen I followed the course From chaos to art Desire the horse Depression the cart LEONARD COHEN reciting “The Book of Longing” ACKNOWLEDGEMENTS When I was five years old, I felt like I was the only person in the world who could not read. Being able to decipher the unlimited combinations of those twenty-six peculiar signs that filled pages upon pages, was what distinguished the grown-ups from the children. Something had to be done. My mother was my first teacher. She taught me to read, although she likes to remind me that I did it all on my own. I spent the following twelve years of my life thinking I was good at it. And yet I arrived in Ghent an illiterate. Here I learned that there is much more to literature than I imagined. I was taught new and more thorough ways of reading books. I can only hope the following pages succeed to prove that I have paid attention. I wish to thank my supervisor, Prof. Dr. Sandro Jung, for his help, and for allowing me to write a dissertation on two novels hardly anyone in the English Department had even heard of. I know he really preferred William Beckford’s Vathek as a subject. I also wish to thank Prof. -
Cohen's Age of Reason
COVER June 2006 COHEN'S AGE OF REASON At 71, this revered Canadian artist is back in the spotlight with a new book of poetry, a CD and concert tour – and a new appreciation for the gift of growing older | by Christine Langlois hen I mention that I will be in- Senior statesman of song is just the latest of many in- terviewing Leonard Cohen at his home in Montreal, female carnations for Cohen, who brought out his first book of po- friends – even a few younger than 50 – gasp. Some offer to etry while still a student at McGill University and, in the Wcome along to carry my nonexistent briefcase. My 23- heady burst of Canada Council-fuelled culture of the early year-old son, on the other hand, teases me by growling out ’60s, became an acclaimed poet and novelist before turning “Closing Time” around the house for days. But he’s inter- to songwriting. Published in 1963, his first novel, The ested enough in Cohen’s songs to advise me on which ones Favourite Game, is a semi-autobiographical tale of a young have been covered recently. Jewish poet coming of age in 1950s Montreal. His second, The interest is somewhat astonishing given that Leonard the sexually graphic Beautiful Losers, published in 1966, has Cohen is now 71. He was born a year before Elvis and in- been called the country’s first post-modern novel (and, at troduced us to “Suzanne” and her perfect body back in 1968. the time, by Toronto critic Robert Fulford, “the most re- For 40 years, he has provided a melancholy – and often mor- volting novel ever published in Canada”). -
Leonard Cohen in French Culture: a Song of Love and Hate
The Journal of Specialised Translation Issue 29 – January 2018 Leonard Cohen in French culture: A song of love and hate. A comparison between musical and literary translation Francis Mus, University of Liège and University of Leuven ABSTRACT Since his comeback on stage in 2008, Leonard Cohen (1934-2016) has been portrayed in the surprisingly monolithic image of a singer-songwriter who broke through in the ‘60s and whose works have been increasingly categorised as ‘classics’. In this article, I will examine his trajectory through several cultural systems, i.e. his entrance into both the French literary and musical systems in the late ‘60s and early ’70s. This is an example of mediation brought about by both individual people and institutions in both the source and target cultures. Cohen’s texts do not only migrate between geo-politically defined source and target cultures (Canada and France), but also between institutionally defined musical and literary systems within one single geo-political context (France). All his musical albums were reviewed and distributed there soon after their release and almost his entire body of literary works (novels and poetry collections) has been translated into French. Nevertheless, Cohen’s reception has never been univocal, either in terms of the representation of the artist or in terms of the evaluation of his works, as this article concludes. KEYWORDS Leonard Cohen, cultural transfer, musical translation, retranslation, ambivalence. I don’t speak French that well. I can get by, but it’s not a tongue I could ever move around in in a way that would satisfy the appetites of the mind or the heart. -
La Tradition Biblique À Travers Les Œuvres De Leonard Cohen
LCO 6830, Séminaire de recherche: La tradition biblique à travers les œuvres de Leonard Cohen Automne 2017 Horaire : Lundi, 13h00 à 16h00 Professeur: Terry Cochran (substitution/equivalence PLU6061, “Littératures juives de la modernité”) Description: Malgré son succès populaire en tant que chanteur et compositeur, Leonard Cohen était surtout un écrivain, ayant publié deux romans et nombreux recueils de poésie avant d’amorcer sa carrière de musicien. De même qu’il a continué à écrire la poésie pendant toute sa vie, ses chansons se distinguent autant par leurs paroles que par leur composition musicale. Au fond, toute sa production – qu’elle soit romanesque, poétique ou musicale – relève du littéraire et les différences entre ces genres de création demeurent très fluides; le langage des romans possède très souvent une sonorité poétique et les poèmes deviennent plus tard les paroles d’une chanson, tout comme les vers chantés se trouvent dans ses recueils de poésie. Cette production « tricéphale » accompagne la quête spirituelle de Cohen qui l’amène à explorer divers héritages religieux – y compris le bouddhisme et l’hindouisme – en plus de son propre judaïsme. Or dans une optique textuelle, cette quête s’inspire de manière constante de la tradition biblique qui a profondément marqué toute l’œuvre de Cohen ainsi que sa vision et son expérience de la création littéraire. Ce séminaire se concentrera sur les liens étroits entre, d’une part, le Tanakh (la Bible hébraïque) et, dans une moindre mesure, la Bible chrétienne (le Nouveau Testament) et, d’autre part, le projet littéraire et les écrits variés de Leonard Cohen. -
BEAUTIFUL LOSERS All the Polarities
BEAUTIFUL LOSERS All the Polarities Linda Hutcheon BEAUTIFUL LOSERS has been called everything from obscene and revolting to gorgeous and brave. For a Canadian work it has received con siderable international attention, yet few literary critics have dared take it seriously. Along with The Energy of Slaves, which shares its themes and imagery, this novel stands as a culminating point in Cohen's development. It may also be the most challenging and perceptive novel about Canada and her people yet written. Cohen plays with the novel structure but the essential unity of the work lies outside the temporal and spatial confines of plot and character, in the integrity of the images. The first book, "The History of Them All," is the tortured con fession of a nameless historian-narrator whose prose is as diarrhetic as his body is constipated. "A Long Letter from F.," written from an asylum for the criminally insane by the brilliant, erratic revolutionary-tyrant, presents us with the narrator's teacher and his "system," seen from the perspective of failure. The final fantasy of F.'s escape leads into "Beautiful Losers: an epilogue in the third person". In formal novelistic terms this is the most traditional part, yet even here characters and temporal sequences merge and we are finally addressed by yet another narrative voice. Whatever plot there is here, its interest is minimal. If the characters enlist our attention at all it is due to their articulate natures. There is little doubt that, if not obscene - whatever that word might mean - the language of this novel is sexual and sensual. -
The Worlds of Leonard Cohen : a Study of His Poetry
THE WORLDS OF LEONARD COREN: A STUDY OF HIS POETRY by Roy Allan B, A,, University of British Columbia, 1967 A THESIS SUBEITTED IN PARTIAL FULk'ILLMZNT OF THE REQUIREI4ENTS FOR THE DEGREE OF FASTER OF ARTS in the Department of Engli sh @ ROY ALLAN, 1970 SIMON FRASER UNIVERSITY June, 1970 Approval Name: Roy Allan Degree: Master of Arts Title of Thesis: The Worlds of Leonard Cohen: A Study of His Poetry Examining Committee: ' Dr. Sandra Djwa Senior Supervisor Dr. Bruce Xesbitt Examining Committee Professor Lionel Kearns Examining Committee Dr. William Ijew Associate Professor of English University of British Columbia Vancouver 8, 13. C. I I Date Approved : ,:,./ /4'7[ Dedicated to Mauryne who gave me help, encouragement and love when I needed them most. iii Abstract The creation of interior escape worlds is a major pre- ' occupation in the poetry of Leonard Cohen. A study of this preoccupation provides an insight to the world view and basic philosophy of the poet and gives meaning to what on the sur- face appears to be an aimless wandering through life. This study also increases the relevance of Cohenls art-+$. explkca- -----1 ' ting -the m-my .themes that relate to the struggle of modern , man in a violent and dehumanizing society. r'\ \ /--'-- ./' ../" ->I \ The for s _wo_rld.aiew-b'eginsin Let Us /' ----- -'I \Compare Flytholoqies wy&f his inn-Raps naive --.-- ----.. - - -- gies upon which man bases7 his -> osophies. TGSconclusion i /' /' Cohen.. stioning is initially an acceptance of the "elaborate lieu that rationalizes the violence of life and death. There is, however, the growing desire on the poet's part to escape this violence. -
Proquest Dissertations
UNIVERSITY OF CALGARY He'll: Parody in the Canadian Poetic Novel by Nathan Russel Dueck A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF ENGLISH CALGARY, ALBERTA NOVEMBER, 2009 © Nathan Russel Dueck 2009 Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 OttawaONK1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-64097-5 Our file Notre reference ISBN: 978-0-494-64097-5 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. -
“Who Is the Lord of the World?” Leonard Cohen’S Beautiful Losers and the Total Vision
Medrie Purdham “Who is the Lord of the World?” Leonard Cohen’s Beautiful Losers and the Total Vision Here is my big book. I hope you don’t think it’s too big. I want it to be the very opposite of a slim volume. I hope I’ve made some contribution to the study of the totalitarian spirit and I needed a lot of space and forms to make my try. —Leonard Cohen, in a letter to Miss Claire Pratt of McClelland & Stewart about Flowers for Hitler, 19641 When Leonard Cohen wrote to his publisher in 1964 about the size of his book of poetry, Flowers for Hitler, he described an almost inevitable formal identification of the “big book” with its subject, “the totalitarian spirit.” With customary humility, Cohen suggests that the work is big not because it is authoritative but rather because it is tentative. An artist must be an uneasy kind of world-maker and certainly an uneasy kind of experimentalist where his writing engages totalitarian themes. Totalitarianism itself has often been explored for its analogy to art; Walter Benjamin viewed totalitarianism as the aestheticization of politics2 and Hannah Arendt explored, similarly, its perverse idealism.3 Further, Arendt’s influential critique of totalitarianism, which I will draw on centrally, emphasizes its essential unworldliness and foregrounds its novelty, dubbing it “a novel form of government” (Origins 593). An unworldly creativity animates Cohen’s Beautiful Losers (1966), a book that is bigger and more wildly inclusive than its predecessor. This novel touches on totalitarian themes, themes that readers might find uncomfortably reflected in Cohen’s own apparent search for a total vision. -
Leonard Cohen's Experimental 1966 Novel, Beautiful Losers, Is His
Benadé 1 Systems and Self: Understanding the Posthuman in Beautiful Losers Richard Benadé English 499 November 16, 2009 Benadé 2 Leonard Cohen‟s experimental 1966 novel, Beautiful Losers, is his second foray into the novel form. Cohen uses the text to balance his conflicting views of technology as neither the great liberator of humanity nor the bane of that which signals human identity. The human condition arises shakily from the dialectic formed between these two extremes. Cohen demonstrates that Western society has entered an age whereupon it relies on technology to a dangerous degree. The reliance humans have upon technology endangers identity, yet through this obsessive relationship, humans may find a means of transcendence. Katherine Hayles‟ book, How We Became Posthuman, similarly addresses the implications of the changing relationship between human beings and machines. The novel yields well to posthuman analysis for two reasons: On the level of content the text‟s references to technology and media are highly suggestive of the concerns to be found within posthuman discourse. Perhaps of greater interest, is the means by which the text, as a form, reflects the concepts posited by posthuman theorists. Cohen shows, with both anxiety and desire, the West‟s transformation into a posthuman society. While posthumanism endangers identity at the level of content—producing an identity crisis for the characters of the text—Beautiful Losers ultimately relies on the posthuman discourse that it anticipates in order to inform its structure. The novel centres on the spiral into madness that the nameless protagonist (conventionally named “I” in literary criticism) undergoes as he tries desperately to cling to a sense of individuality. -
Leonard Cohen's New Jews: a Consideration of Western Mysticisms in Beautiful Losers Alexander Lombardo Claremont Mckenna College
Claremont Colleges Scholarship @ Claremont CMC Senior Theses CMC Student Scholarship 2017 Leonard Cohen's New Jews: a Consideration of Western Mysticisms in Beautiful Losers Alexander Lombardo Claremont McKenna College Recommended Citation Lombardo, Alexander, "Leonard Cohen's New Jews: a Consideration of Western Mysticisms in Beautiful Losers" (2017). CMC Senior Theses. 1539. http://scholarship.claremont.edu/cmc_theses/1539 This Open Access Senior Thesis is brought to you by Scholarship@Claremont. It has been accepted for inclusion in this collection by an authorized administrator. For more information, please contact [email protected]. Claremont McKenna College Leonard Cohen’s New Jews: a consideration of Western mysticisms in Beautiful Losers submitted to Professor Robert Faggen and Dean Peter Uvin by Alex Lombardo for Senior Thesis 2016-2017 24 April 2017 Lombardo 2 Lombardo 3 Abstract This study examines the influence of various Western mystical traditions on Leonard Cohen’s second novel, Beautiful Losers. It begins with a discussion of Cohen’s public remarks concerning religion and mysticism followed by an assessment of twentieth century Canadian criticism on Beautiful Losers. Three thematic chapters comprise the majority of the study, each concerning a different mystical tradition—Kabbalism, Gnosticism, and Christian mysticism, respectively. The author considers Beautiful Losers in relation to these systems, concluding that the novel effectively depicts the pursuit of God, or knowledge, through mystic practice and doctrine. This study will interest scholars seeking a careful exploration of Cohen’s use of religious themes in his work. Lombardo 4 This thesis is dedicated to the memory of Leonard Norman Cohen. Lombardo 5 Table of Contents 1. -
Fillmore-Handlon Phd S2019
Our Famous Blue Raincoat: The Phenomenon of Leonard Cohen and the Changing Discourses of Celebrity in Canada Charlotte Jane Fillmore-Handlon A Thesis In the Humanities Program Presented in Partial Fulfillment of the Requirements For the Degree of Doctor of Philosophy (Humanities) at Concordia University Montreal, Quebec, Canada October 2018 © Charlotte Jane Fillmore-Handlon, 2018 Charlotte Jane Fillmore-Handlon Our Famous Blue Raincoat: The Phenomenon of Leonard Cohen and the Changing Discourses of Celebrity in Canada (Humanities) Dr. Monika Gagnon Dr. Line Grenier Dr. Bart Simon Dr. Valérie deCourville Nicol Dr. Charles Acland Dr. Darren Wershler Dr. Erin Manning December 10, 2018 Dr. André Roy, Faculty of Arts and Science ABSTRACT Our Famous Blue Raincoat: The Phenomenon of Leonard Cohen and the Changing Discourses of Celebrity in Canada Charlotte Jane Fillmore-Handlon, PhD Concordia University, 2018 The history of Leonard Cohen’s career over the last sixty years is also a reflection of the development of contemporary celebrity culture in Canada. One of the main conditions that allowed this culture to emerge is the Royal Commission on National Development in the Arts, Letters and Sciences (1949-51). As a result, the Canadian government strengthened cultural policy and developed the Canada Council for the Arts to support cultural production. In 1958, Cohen was a recipient of the new Canada Council Junior Arts Fellowships. Using the celebrity phenomenon of Cohen as my object of research, this dissertation asks: How is the discourse of celebrity constructed in Canada from the mid-twentieth century to the early decades of the twenty-first century? Developing a discursive analysis, I illuminate how we talk about celebrity in Canada at certain socio-historical moments and portray Canada as a nation ambivalent about celebrity. -
Leonard Cohen: a Crack in Everything the Jewish Museum April 12 – September 8, 2019
Leonard Cohen: A Crack in Everything The Jewish Museum April 12 – September 8, 2019 Exhibition Wall Texts LEONARD COHEN: MOMENTS COMPILED BY CHANTAL RINGUET Topos_JM_LC_WallTexts_24p.indd 1 4/4/19 12:34 PM SEPTEMBER 21, 1934 BIRTH OF LEONARD NORMAN COHEN IN WESTMOUNT Born into a Westmount Jewish family that was part of Montreal’s Anglo elite, Leonard Norman Cohen was the second child of Masha Klinitsky- Klein and Nathan Bernard Cohen. Lyon Cohen, Leonard’s paternal grandfather, a well- known businessman and philanthropist, was an important figure in the Jewish community. He started the Freedman Company, one of the largest clothing manufacturers in Montreal, and cofounded the Canadian Jewish Times (1897), the first English- language Jewish newspaper in Canada. Lyon Cohen was also president of several organizations, including the Canadian Jewish Congress and Congregation Shaar Hashomayim. He helped Jewish immigrants from the Russian Empire settle in Canada—among them, from Lithuania, the learned Rabbi Solomon Klinitsky- Klein and his family. Lyon’s son, Nathan Cohen, a lieutenant in the Canadian army and World War I veteran, later ran the family business. From his father, the young Leonard inherited a love of suits; from his mother, Masha, who trained as a nurse, he received his charisma and his love of songs. Cohen’s well- to- do family was quite different from the Jewish masses who arrived in Montreal in the early twentieth century. Many of these immigrants spoke Yiddish as their native language and worked in garment factories. Despite his extensive travels and his residence in Los Angeles, Cohen always returned to Montreal to “renew his neurotic affiliations,” as he often repeated in interviews.