Commencement Program, 5-26-1968 John Carroll University
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22·24 CONGRESSIONAL RECOR.D-HOUSE JANUARY 251 HOUSE of REPRESENTATIVES the SPEAKER
22·24 CONGRESSIONAL RECOR.D-HOUSE JANUARY 251 HOUSE OF REPRESENTATIVES The SPEAKER. The gentleman froin -Connecticut asks unan imous con...•tent that bills on the ~rivate Calendar Un.objected to FRIDAY, January 1£5, 191£9 . Imay be in order to-day, to be considered in the House as in Committee of the Whole House. Is there objection? The House met at 12 o'clock noon. There was no olJjection. The Chaplain, Rev. James Sber_a Montgomery, D. D., offered the following prayer : AUTHOR OF POEM ON JOINT REUNION OF NORTH AND SOUTH Almighty God and our Merciful Father, we would turn aside 1\Ir. HOWARD of Nebraska. 1\fr. Speaker, I rise to a ques for a moment to reflect upon personal responsibility, and even tion of personal privilege. Among newspaper men and writers upon the vanity of human greatne s. As we stand before our generally no charge is ever considered so hideous as the charge country may the sense of obligation call forth the activity of of plagiarism. This morning I have been kindly greeted by our highest and finest powers of thought and expression. Do several Members of the House and complimented on the author Thou richly endow us with a refined and chastened feeling ship of a most beautiful poem, which the House was kind toward all men. Ble s us with a helpful and a profound influ enough to permit me to insert in the RECORD yesterday morning. ence that shall be exerted in shaping the minds and in deter The lines are beautiful, the sentiment is noble, and I should mining the characters of those with whom we associate. -
Mean Streets: Death and Disfiguration in Hawks's Scarface
Mean Streets: Death and Disfiguration in Hawks's Scarface ASBJØRN GRØNSTAD Consider this paradox: in Howard Hawks' Scarface, The Shame of the Nation, violence is virtually all-encompassing, yet it is a film from an era before American movies really got violent. There are no graphic close-ups of bullet wounds or slow-motion dissection of agonized faces and bodies, only a series of abrupt, almost perfunctory liquidations seemingly devoid of the heat and passion that characterize the deaths of the spastic Lyle Gotch in The Wild Bunch or the anguished Mr. Orange, slowly bleeding to death, in Reservoir Dogs. Nonetheless, as Bernie Cook correctly points out, Scarface is the most violent of all the gangster films of the eatly 1930s cycle (1999: 545).' Hawks's camera desists from examining the anatomy of the punctured flesh and the extended convulsions of corporeality in transition. The film's approach, conforming to the period style of ptc-Bonnie and Clyde depictions of violence, is understated, euphemistic, in its attention to the particulars of what Mark Ledbetter sees as "narrative scarring" (1996: x). It would not be illegitimate to describe the form of violence in Scarface as discreet, were it not for the fact that appraisals of the aesthetics of violence are primarily a question of kinds, and not degrees. In Hawks's film, as we shall see, violence orchestrates the deep structure of the narrative logic, yielding an hysterical form of plotting that hovers between the impulse toward self- effacement and the desire to advance an ethics of emasculation. Scarface is a film in which violence completely takes over the narrative, becoming both its vehicle and its determination. -
Book Vs. Film: LA CHIENNE Vs. SCARLET STREET
BOOK VS FILM Brian Light author’s commentary on the incestuous bed- counterpoint to the plotline. The book is fellows of art and commerce. frank in its depiction of the sordid relation- ew French writers in the first In his preface, de la Fouchardière calls ship between Lulu and Dédé and the pseudo half of the 20th century could attention to the theatrical staging used to romantic/financial arrangement between rival the output of Georges de set up the narrative structure of the story: Lulu and Legrand. la Fouchardière. He produced “I have chosen a technique borrowed from In 1931, Jean Renoir adapted the book 33 humorous novels and crime dramatic art…each of the characters who to the screen with the same title. An early Fthrillers, over a dozen of which were adapted participate in the story will in turn take the example of poetic realism, this was only for the screen in the 1920s and ’30s. He was a stage and tell in his own way about events Renoir’s second talking picture, and, to his prodigious journalist and devout pacifist who in which he has been implicated.” In chap- credit, he shot the entire film using actual covered WWI and WWII for two newspapers, ters titled “He,” “She,” and “The Other,” Parisian street locations. The preceding year La Vague and Paris-Soir, and he also wrote a we are provided with three distinct points of Alfred Knopf published an English transla- column for the weekly journal Paris-Sport. In view. “He” (Maurice Legrand) is the princi- tion of La Chienne, titled Poor Sap, which 1929, he published La Chienne (The Bitch), pal storyteller, and, as such, he is depicted enjoyed a second printing. -
Violence and Masculinity in Hollywood War Films During World War II a Thesis Submitted To
Violence and Masculinity in Hollywood War Films During World War II A thesis submitted to: Lakehead University Faculty of Arts and Sciences Department of History In partial fulfillment of the requirements for the degree in Master of Arts Matthew Sitter Thunder Bay, Ontario July 2012 Library and Archives Bibliothèque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l'édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre référence ISBN: 978-0-494-84504-2 Our file Notre référence ISBN: 978-0-494-84504-2 NOTICE: AVIS: The author has granted a non- L'auteur a accordé une licence non exclusive exclusive license allowing Library and permettant à la Bibliothèque 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 télécommunication ou par l'Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans le loan, distrbute and sell theses monde, à des fins commerciales ou autres, sur worldwide, for commercial or non- support microforme, papier, électronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriété du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette thèse. Ni thesis. Neither the thesis nor la thèse ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent être imprimés ou autrement printed or otherwise reproduced reproduits sans son autorisation. -
I Stick My Neck out for Nobody
Excerpted from We’ll Always Have Casablanca: The Life, Legend, and Afterlife of Hollywood’s Most Beloved Movie by Noah Isenberg. Copyright © 2017 by Noah Isenberg. With permission of the publisher, W. W. Norton & Company, Inc. All rights reserved. Chapter 3 I Stick My Neck Out for Nobody Propertyuring of the W. 1930s, W. and intoNorton the early ’40s,& Company as the Great D Depression continued to cast its long shadow and dis- tressing memories of the Great War were still fresh in the minds of most Americans, politicians and the public at large were disinclined to meddle with the political affairs of Europe. Even after Hitler’s stunning ascent in Germany in January 1933, and the gradual rise of fascism in Italy, Americans showed little interest in waging an opposition. Hollywood, for its part, was no exception. Most studios, still reliant on sig- nificant revenue streams from the European export market, which into the mid-1930s constituted 30 to 40 percent of its box-office profits, fiercely avoided subjects that could be- con strued as offensive or insensitive. A typical attitude, voiced by M-G-M producer Irving Thalberg after returning from a trip to Germany in 1934, was “Hitler and Hitlerism will pass.” The 85 WellAlwaysHaveCasablanca_txt_final.indd 85 11/10/16 2:14 PM We’ll Always Have Casablanca imposition of the anti-Jewish Nuremberg Laws in 1935 didn’t stop most studios from continuing to retain cordial business ties with Nazi Germany, nor did the ruthless expansion of the Third Reich. “Fascism tipped the European applecart,” wrote journalist Helen Zigmond in a sobering report from December 1938, several months after the Anschluss and just weeks after the violent pogroms of Kristallnacht, “and Hollywood, instead of crying out against the bunglers, still scrambles for the fruit.” Although not without fault, Warner Bros. -
Cuban Missile Crisis
Cuban Missile Crisis The Cuban Missile Crisis, also known as the October 1 Earlier actions by the United Crisis (Spanish: Crisis de octubre), The Missile Scare, States or the Caribbean Crisis (Russian: Карибский кризис, tr. Karibskiy krizis), was a 13-day (October 14–28, 1962) confrontation between the United States and the Soviet Union over Soviet ballistic missiles deployed in Cuba. It played out on television worldwide and was the closest the Cold War came to escalating into a full-scale nuclear war. In response to the failed Bay of Pigs Invasion of 1961, and the presence of American Jupiter ballistic missiles in Italy and Turkey against the USSR with Moscow within range, Soviet leader Nikita Khrushchev decided to agree to Cuba’s request to place nuclear missiles in Cuba to deter future harassment of Cuba. An agreement was reached during a secret meeting between Khrushchev and Fidel Castro in July and construction on a number of missile launch facilities started later that summer. An election was underway in the U.S. and the White House had denied Republican charges that it was ignoring Fidel Castro embracing Soviet Premier Nikita Khrushchev, 1961 dangerous Soviet missiles 90 miles from Florida. These missile preparations were confirmed when an Air Force The United States was concerned about an expansion U-2 spy plane produced clear photographic evidence of of Communism, and a Latin American country allying medium-range and intermediate-range ballistic missile openly with the USSR was regarded as unacceptable, facilities. The United States established a military block- given the U.S.-Soviet enmity since the end of World ade to prevent further missiles from entering Cuba. -
Censorship and Holocaust Film in the Hollywood Studio System Nancy Copeland Halbgewachs
University of New Mexico UNM Digital Repository Sociology ETDs Electronic Theses and Dissertations 2-1-2012 Censorship and Holocaust Film in the Hollywood Studio System Nancy Copeland Halbgewachs Follow this and additional works at: https://digitalrepository.unm.edu/soc_etds Recommended Citation Halbgewachs, Nancy Copeland. "Censorship and Holocaust Film in the Hollywood Studio System." (2012). https://digitalrepository.unm.edu/soc_etds/18 This Dissertation is brought to you for free and open access by the Electronic Theses and Dissertations at UNM Digital Repository. It has been accepted for inclusion in Sociology ETDs by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. Nancy Copeland Halbgewachs Candidate Department of Sociology Department This dissertation is approved, and it is acceptable in quality and form for publication: Approved by the Dissertation Committee: Dr. George A. Huaco , Chairperson Dr. Richard Couglin Dr. Susan Tiano Dr. James D. Stone i CENSORSHIP AND HOLOCAUST FILM IN THE HOLLYWOOD STUDIO SYSTEM BY NANCY COPELAND HALBGEWACHS B.A., Sociology, University of Kansas, 1962 M.A., Sociology, University of Kansas, 1966 DISSERTATION Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Sociology The University of New Mexico Albuquerque, New Mexico December, 2011 ii DEDICATION In memory of My uncle, Leonard Preston Fox who served with General Dwight D. Eisenhower during World War II and his wife, my Aunt Bonnie, who visited us while he was overseas. My friend, Dorothy L. Miller who as a Red Cross worker was responsible for one of the camps that served those released from one of the death camps at the end of the war. -
Master Document Template
Copyright by Peter Harris 2015 The Dissertation Committee for Peter Harris Certifies that this is the approved version of the following dissertation: Global Gatekeeping: How Great Powers Respond to Rising States Committee: Bruce Buchanan, Supervisor Peter Trubowitz, Co-Supervisor Catherine Boone Terrence Chapman Patrick McDonald Jeremi Suri Global Gatekeeping: How Great Powers Respond to Rising States by Peter Harris, M.A., M.Sc., M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2015 For Allison Acknowledgements I have incurred many debts during the course of preparing for and writing this dissertation and it gives me great pleasure finally to be able to acknowledge those who have lent their support. First, Peter Trubowitz has been an excellent dissertation chair and, before that, faculty adviser. From contacting me via email after I was accepted into the University of Texas at Austin, through the coursework phase of my graduate training and right up until the defense of this dissertation manuscript, he has been an unstinting source of encouragement, mentorship and guidance. It will be obvious to anybody familiar with our work that mine takes a liberal dose of inspiration from his. I think that good doctoral training should resemble an apprenticeship and I am grateful that I was able to learn my craft alongside a true master of the art. Bruce Buchanan, too, has been a dependable ally within the Department of Government ever since my earliest dealings with him. -
Alternate Historical Fiction
Alternate Historical Fiction "Sometimes it's possible, just barely possible, to imagine a version of this world different from the existing one." Ben H. Winters, Underground Airlines Voyage The Peshawar Lancers by Stephen Baxter by S. M. Stirling An intense novel explores what On an alternate Earth might have happened if irrevocably transformed by a President Kennedy had lived violent spray of comets in the and a manned mission to Mars 1870s, the planet is controlled had been dispatched, by two superpowers--the British combining historical figures and Empire and Russia--who appear events with memorable to be heading for a deadly characters who experience the showdown, unless superspy trials and tribulations of this Captain Alfred King can stop it. aspiring mission. The Impeachment of How Few Remain Abraham Lincoln by Harry Turtledove In 1883, the United States, still by Stephen L. Carter smarting from its defeat at the The best-selling author of The hands of the Confederacy, Emperor of Ocean Park returns to the battlefields, with imagines a world where the the Apache, outlaw gangs, and 16th President survives his 1865 European forces becoming assassination only to be involved in the conflict, in a new charged with overstepping his novel of alternative history.. Constitutional authority during the Civil War, a case that is aided by a black college graduate who is entangled in a violent political conspiracy. Clash of Eagles by Alan Smale Fallout General Gaius Marcellinus of the by Todd Strasser Roman Empire is shocked by When an unthinkable nuclear the fighting skills shown by attack occurs in an alternate- Native Americans when he reality 1962, Scott is forced into commands the invasion of the his father's bomb shelter with newly-discovered North his family and neighbors, where American continent. -
“Can't Help Singing”: the “Modern” Opera Diva In
“CAN’T HELP SINGING”: THE “MODERN” OPERA DIVA IN HOLLYWOOD FILM, 1930–1950 Gina Bombola A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the College of Arts and Sciences. Chapel Hill 2017 Approved by: Annegret Fauser Tim Carter Mark Katz Chérie Rivers Ndaliko Jocelyn Neal ©2017 Gina Bombola ALL RIGHTS RESERVED ii ABSTRACT Gina Bombola: “Can’t Help Singing”: The “Modern” Opera Diva in Hollywood Film, 1930–1950 (Under the direction of Annegret Fauser) Following the release of Columbia Pictures’ surprise smash hit, One Night of Love (1934), major Hollywood studios sought to cash in on the public’s burgeoning interest in films featuring opera singers. For a brief period thereafter, renowned Metropolitan Opera artists such as Grace Moore and Lily Pons fared well at the box office, bringing “elite” musical culture to general audiences for a relatively inexpensive price. By the 1940s, however, the studios began grooming their own operatic actresses instead of transplanting celebrities from the stage. Stars such as Deanna Durbin, Kathryn Grayson, and Jane Powell thereby became ambassadors of opera from the highly commercial studio lot. My dissertation traces the shifts in film production and marketing of operatic singers in association with the rise of such cultural phenomena as the music-appreciation movement, all contextualized within the changing social and political landscapes of the United States spanning the Great Depression to the Cold War. Drawing on a variety of methodologies—including, among others, archival research, film analysis, feminist criticisms, and social theory—I argue that Hollywood framed opera as less of a European theatrical art performed in elite venues and more of a democratic, albeit still white, musical tradition that could be sung by talented individuals in any location. -
A Bibliography of Asian and Asian American Books for Elementary
DOCUMENT RESUME ED 117 286 UD015''706 i TITLE A Bibliography of Asian and Asian American Books for Elementary School Youngsters." INSTITUTION Washington Office of the State Superintendent of Public Instruction, Olympia. ! PUB DATt Jan 75 NOTE 58p. EDRS PRICE MF -$d.76 HC-$3.32 Plus Postage DESCRfPTORS *Annotated Bibliogra-ghte--sl*Xlon Amer ans; Audiovisual Aids; Chinese Americans; IC tural Background; *Cultural Context; Cultur Factors; Educational Resources; . *Elementary Education; Ethnic Groups; Fiction; Folk Culture; Japanese Americans; . Junior High Schools; Minority,Groups; Resource Materials ABSTRACT This annotated bibliography, initiated and produced solely by Asian AmericanS, contains books on both the Asian AmeriCan 'experience and on the ethnic and cultural setting of the old country. Ratings with the following,criteria are assigned to each book: (1) sensitivity in dealing with differences;(2) accuracy of fact or* situation;(3) readability of the book; and,' (4) interest level and attractiveness of the book. The rating schedule consists of poor - given to books with little ethnic sensitivity and/or low interest to the reader; average - books which' neither detract nor Improve the reader's perspective of Asian Americant; and excellent- highly recommended reading material which carr help bring about understanding of the Asian experience. Recommended grade levels are based on . interest` rather than reading levels. Six major topics' include fiction: folk and fairy tales; resource books such as history, song, game, and culture; books/media/curriculum supplemeA outlets; audiovisual; and publishers of boOks offered'in the bibliography. The bibliography is limited.tO elementary and junior high level resoufxes. ,It is said to alleviate the problem related to the lack and shortage of appropriate Asian American curricular materials. -
CATHOLIC AMERICANISM at the MOVIES, 1930- 1947 Ann Mairín
ABSTRACT Title of Document: MASS CULTURE: CATHOLIC AMERICANISM AT THE MOVIES, 1930 - 1947 Ann Mairín Hanlon , Master of Arts , 2007 Directed By: Professor James B. Gilbert , Department of History Between 1930 and 1947 (and ultimately, to 1967) , the Hollywood film industry adhered to a set of rules, known as the Production Code, that set boundaries on the content of movies produced and distributed by the major studios. Influenced by Catholic theology, and written by a Catholic lay person an d a Catholic priest, the Production Code and the films of the Production Code -era have been mined by historians for evidence of Catholic censorship in Hollywood. This thesis explores another side the relationship between Hollywood and the Church, exploring the productive relationship between these major twentieth -century institutions, and the cultural negotiations that resulted in the representation of Catholicism as the American religion of the silver screen. MASS CULTURE: CATHOLIC AMERICANISM AT THE MOVIES, 1930 -1947 By Ann Mairín Hanlon . Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Master of Arts 2007 Advisory Committee: Professor James B. Gilbert , Chair Professor Saverio Giovacchini Professor Arthur M. Eckstein © Copyright by Ann Mairín Hanlon 2007 Dedication To my Mother and my Grandmother. Another county heard from. ii Acknowledgements I could not have written this thesis without the patience, insight, encouragement, a nd enthusiasm of my advisor, James Gilbert. Saverio Giovacchini tried to steer me clear of some of my unexamined assumptions about the Hollyw ood of the Production Code era, and provided encouragement when the going was slow.