Parents and Surrogate Parents
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
James Dean: Magnificent Failure
Gay San Francisco: Eyewitness Drummer 133 James Dean: Magnificent Failure Written in 1960 and revised in September 1961, this feature essay was published in Preview: The Family Entertainment Guide, June 1962. I. Author’s Eyewitness Historical-Context Introduction written July 29, 2007 II. The feature article as published in Preview: The Family Entertainment Guide, June 1962 III. Eyewitness Illustrations I. Author’s Eyewitness Historical-Context Introduction written July 29, 2007 Revealing the Iconography of Drummer: When James Dean Met Marlon Brando, Heath Ledger, and Jake Gyllenhaal Marlon Brando: “Stella!” James Dean: “You’re tearing me apart.” Jake Gyllenhaal to Heath Ledger: “I wish I knew how to quit you.” As soon as we teenagers invented and liberated our tortured selves in the pop culture of the deadly dull 1950s, my leather bomber jacket morphed in meaning from “play clothing” to teen symbol. I was swept up by the movie Blackboard Jungle (1955) and its theme song, Bill Haley’s “Rock around the Clock,” which was played every ten minutes on the radio because no other white rock-n-roll songs yet existed. At the same instant, I found my first lover in James Dean, in his jackets, his motorcycle, his face, his attitude, his verite. When he was killed at age twenty-four on September 30, 1955, I was sixteen, a junior in high school, and stricken with grief. Even though I was in the Catholic seminary and was a sexually pure boy, art and literature and movies cancelled my chances of being paro- chial. (In 2007, it is more difficult to come out as a progressive Catholic ©Jack Fritscher, Ph.D., All Rights Reserved—posted 05-05-2017 HOW TO LEGALLY QUOTE FROM THIS BOOK 134 Jack Fritscher, Ph.D. -
'Continuing Peyton Place: Das Melodrama Und
Zurich Open Repository and Archive University of Zurich Main Library Strickhofstrasse 39 CH-8057 Zurich www.zora.uzh.ch Year: 2016 Continuing Peyton Place: Das Melodrama und seine Bastarde Binotto, Johannes Abstract: Angelehnt an Gilles Deleuzes Projekt einer Bastardisierung innerhalb der Philosophiegeschichte skizziert der vorliegende Beitrag eine Medienphilosophie der Bastardisierung anhand des Bastardgenres des Melodrams. Insbesondere der melodramatische Roman Peyton Place und seine diversen, transme- dialen Wiedergeburten erweist sich so als Schauplatz einer komplexen Selbstreflexion, in welcher die verschiedenen Medien nicht zuletzt auch ihre eigene, ungewisse und illegitime Genealogie zur Diskussion stellen. Posted at the Zurich Open Repository and Archive, University of Zurich ZORA URL: https://doi.org/10.5167/uzh-122335 Book Section Originally published at: Binotto, Johannes (2016). Continuing Peyton Place: Das Melodrama und seine Bastarde. In: Ritzer, Ivo; Schulze, Peter. Transmediale Genre-Passagen : Interdisziplinäre Perspektiven. Wiesbaden: Springer, 269-288. in: Ivo Ritzer, Peter W. Schulze (Hg.): Transmediale Genre-Passagen. Interdisziplinäre Perspektiven, Wiesbaden: Springer VS 2016, S. 269-288. Continuing Peyton Place: Das Melodrama und seine Bastarde Johannes Binotto …les chemins imaginaires, par où le desir de l’enfant trouve à s’identifier au manque- à-être de la mère. (…die imaginären Wege, über die das Begehren des Kindes sich identifizieren kann mit dem Fehlen-an-Sein der Mutter.) Jacques Lacan (1966, S. 565) In einer seiner gewiss berüchtigsten Formulierungen beschreibt Gilles Deleuze das eigene Projekt einer anderen Philosophiegeschichte als „eine Art Arschfickerei […] oder, was auf dasselbe hinausläuft, unbefleckte Empfängnis. Ich stellte mir vor, einen Autor von hinten zu nehmen und ihm ein Kind zu machen, das seines, aber trotzdem monströs wäre“ (1993, S. -
Peyton Place U.S
Peter Pan Slightly David Bean Director Tootles Ian Tucker Jerome Robbins Ostrich Joan Tewkesbury Crocodile Norman Shelly Programming Wendy (as adult) Ann Connolly History NBC Nibs Paris Theodore Two hours; March 7, 1955 Noodler Frank Lindsay Executive Producer Further Reading Richard Halliday Hanson, Bruce K., The Peter Pan Chronicles: The Nearly /00 - Year History of the "Boy Who Wouldn't Grow Up," Secau- Producer cus, New Jersey: Carol. 1993 Martin, Mary, My Heart Belongs, New Quill, 1984 Fred York: Coe Rivadue, Barry, Mary Martin: A Bio-Bibliography, New York: Greenwood, 1991 Peyton Place U.S. Serial Melodrama When it appeared on ABC, at that time still the third - in Latin America, telenovela, and Francophone ranked U.S. network, Peyton Place, a prime -time pro- Canada, telerornan.) Set in a small New England town, gram based on the Grace Metalious novel, was an Peyton Place dealt with the secrets and scandals of two experiment for American television in both content generations of the town's inhabitants. An unmarried and scheduling. Premiering in the fall of 1964, Peyton woman, Constance MacKenzie, and her daughter, Alli- Place was offered in two serialized installments per son, were placed at the dramatic center of the story. week, Tuesday and Thursday nights, a first for Ameri- Constance (played by 1950s film melodrama star can prime -time television. Initially drawing more at- Dorothy Malone) eventually married Allison's father. tention for its moral tone than for its unique Elliott Carson, when he was released from prison, scheduling, the serial was launched amid an atmo- though his rival Dr. -
Knowing and Being Known: Sexual Delinquency, Stardom, and Adolescent Girlhood in Midcentury American Film
University of Kentucky UKnowledge Theses and Dissertations--English English 2014 KNOWING AND BEING KNOWN: SEXUAL DELINQUENCY, STARDOM, AND ADOLESCENT GIRLHOOD IN MIDCENTURY AMERICAN FILM Michael Todd Hendricks University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Hendricks, Michael Todd, "KNOWING AND BEING KNOWN: SEXUAL DELINQUENCY, STARDOM, AND ADOLESCENT GIRLHOOD IN MIDCENTURY AMERICAN FILM" (2014). Theses and Dissertations--English. 14. https://uknowledge.uky.edu/english_etds/14 This Doctoral Dissertation is brought to you for free and open access by the English at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--English by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies. -
THE DOCTOR in LITERATURE Volume 3
THE DOCTOR IN LITERATURE Volume 3. Career Choices Picture (Doctor and the Doll, Rockwell) SOLOMON POSEN i Contents Introduction 1 1. Why Medicine? 8 Family pressures 8 Money 13 Status and power 15 The mysterious element 18 Dreams of innocence 19 True altruism 23 Role models. Books 23 Late starters 25 The interview for admission 31 Unachieved medical ambitions 33 Summary 35 References – Chapter 1 36 2. What kind of medicine? 48 Fact and Fiction 48 City and country 49 Hospital versus office practice 49 Gender considerations 50 Consistency and capriciousness 51 Financial and Life-Style Considerations 52 General practice versus specialization 53 Unspoken considerations 54 Summary 55 References – Chapter 2 55 3. Surgery and the Surgeon 60 Historical 60 “Aristocrats of the profession” 61 Hero worship 61 Physical appearance, military bearing, stamina 63 Undesirable traits: Attitude to “casualties” 64 Bullying; sexual harassment 66 Insensitive behavior 68 Surgeons as miserable teachers 72 High tech cave men 73 Surgeons and other doctors 76 Academic surgeons 81 Rituals of the operating room 82 Sadistic surgeons 83 Atypical surgeons; dropouts 85 Aggression as an asset 93 ii Summary 94 References - Chapter 3 94 4. Psychiatry and the psychiatrist 107 The one track mind 107 A meaningless hocus pocus 108 The “mad” psychiatrist 110 The “alien” psychiatrist 110 “Psychiatrists aren’t proper doctors” 111 “Psychiatrists have no morals” 115 Summary 117 References - Chapter 4 117 5. Specialists; general practitioners; fringe practitioners 123 Internists 123 Internal medicine – subspecialties 132 Neurology and neurologists 132 Oncology 134 Dermatology 136 Obstetrics/gynecology 138 Ophthalmology 141 Otolaryngology 143 Orthopedics 143 Pediatrics 145 General practice 148 “Ancillary” doctors 153 Pathology and pathologists 153 Anesthetics and anesthetists 157 Radiology 161 Marginalized doctors 162 Summary 164 References – Chapter 5 165 6. -
PEYTON PLACE Episode 415
PEYTON PLACE Episode 415 PEYTON Place Episode 415 Lundi 11 mars 1968 NARRATION : WARNER ANDERSON Betty Anderson Cord a été mariée avec Rodney Harrington. Le mariage a été bref et s’est soldé par un divorce. Mais la maturité aidant, Rodney et Betty se sont retrouvés et planifient à nouveau un mariage. Mais Betty a soudain appris que la portée disparue Allison, qui voyait Rodney, a donné naissance à un bébé. Ce soir, Betty a le sentiment que les pensées de Rodney vont vers la fille qu’il a autrefois aimé. INTRO Betty marche sur le quai. Rodney est assit sur un banc. Betty se dirige vers lui. SCENE 1 Betty et Rodney discutent du bébé de Jill, pensant qu’il s’agit de celui d’Allison. Il raconte à Betty la conversation qu’il a eu avec Jill concernant le bébé. Betty est sûre d’une chose, elle ne veut pas être une mère pour le bébé d’Allison Mackenzie. SCENE 2 Constance et Elliot parlent du bébé. Constance raconte comment elle et sa mère sont allées dans un magasin à Boston, et comment sa mère a prit la photo d’un pilote de la Navy. Constance savait qu’elle avait trouvé là Mr Mackenzie. SCENE 3 Au garage, Rodney parle avec Leslie du bébé. Leslie lui dit qu’il a reçu une note de Steven. Leslie conseille à son fils de ne pas confondre la conscience avec un mauvais jugement. Après toutes ces années, il admet qu’il est à l’origine du divorce de Betty et Rodney. -
Beyond "Main Street": Small Towns in Post- "Revolt" American Literature Rachael Price University of Arkansas, Fayetteville
University of Arkansas, Fayetteville ScholarWorks@UARK Theses and Dissertations 5-2016 Beyond "Main Street": Small Towns in Post- "Revolt" American Literature Rachael Price University of Arkansas, Fayetteville Follow this and additional works at: http://scholarworks.uark.edu/etd Part of the American Literature Commons, Comparative Literature Commons, and the Modern Literature Commons Recommended Citation Price, Rachael, "Beyond "Main Street": Small Towns in Post-"Revolt" American Literature" (2016). Theses and Dissertations. 1476. http://scholarworks.uark.edu/etd/1476 This Dissertation is brought to you for free and open access by ScholarWorks@UARK. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of ScholarWorks@UARK. For more information, please contact [email protected], [email protected]. Beyond Main Street: Small Towns in Post-“Revolt” American Literature A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English by Rachael Price State University of New York at Geneseo Bachelor of Arts in English, 2000 State University of New York at New Paltz Master of Arts in English, 2005 May 2016 University of Arkansas This dissertation is approved for recommendation to the Graduate Council. __________________________________ Dr. Lisa Hinrichsen Dissertation Director __________________________________ ________________________________ Dr. Susan Marren Dr. Keith Booker Committee Member Committee Member Abstract “Beyond Main Street” examines the impact and legacy of the literary movement that Carl Van Doren, in an infamous 1920 article from The Nation, referred to as the “revolt from the village.” This movement, which is widely acknowledged to encompass such writers as Edgar Lee Masters, Sherwood Anderson, and Sinclair Lewis, pushed back against the primacy of the heretofore-dominant pastoral tradition when it came to depictions of rural America. -
Peyton Place" Sally Hirsh-Dickinson University of New Hampshire, Durham
University of New Hampshire University of New Hampshire Scholars' Repository Doctoral Dissertations Student Scholarship Winter 2007 Dirty whites and dark secrets: Sex and race in "Peyton Place" Sally Hirsh-Dickinson University of New Hampshire, Durham Follow this and additional works at: https://scholars.unh.edu/dissertation Recommended Citation Hirsh-Dickinson, Sally, "Dirty whites and dark secrets: Sex and race in "Peyton Place"" (2007). Doctoral Dissertations. 409. https://scholars.unh.edu/dissertation/409 This Dissertation is brought to you for free and open access by the Student Scholarship at University of New Hampshire Scholars' Repository. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of University of New Hampshire Scholars' Repository. For more information, please contact [email protected]. DIRTY WHITES AND DARK SECRETS: SEX AND RACE IN PEYTON PLACE BY SALLY HIRSH-DICKINSON BA, University of Massachusetts, Amherst, 1992 MA, University of New Hampshire, Durham, 1998 DISSERTATION Submitted to the University of New Hampshire in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in English December, 2007 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number: 3290102 Copyright 2007 by Hirsh-Dickinson, Sally All rights reserved. INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. -
Storylines America Has Been Made Possible by a Major Grant from the Storylines Life in the Fast Lane and Sought Escape from It
“Peyton Place is about several pairs of mothers and daughters said, “A woman has recently written a book called Peyton Place and about wife-beating, rape, abortion, independence—the All I Want Is Everything. I haven’t read it but I think it is one “women’s issues” of the 1970s and ’80s. The perceptions in hell of a title. All I want is everything, and I want it all the by Grace Metalious Peyton Place are unusual for 1956: that wife-beating is not time.” She never found it. inevitable; that rape is an act of violence, not sexual pleasure; that abortion can mean saving a life—the mother’s. Women Discussion questions who depend too heavily on men . lose out in Peyton Place. 1. Its melodrama and sexuality aside, Peyton Place fits squarely The winners are independent women like Allison, who in the long tradition of realistic working-class fiction. Some pursues her writing, putting an unhappy love affair behind her; reviewers have argued that Metalious portrays Serena’s Connie, who acknowledges her sexuality—and keeps her abuse by her stepfather as the fault not merely of one drunken career; and Selena, who transcends desertion, rape, and woodsman but also of the entire society of Peyton Place. StoryLines New England murder and relies on herself—and her female friends.” Discuss this proposition with examples from the novel. Discussion Guide No. 7 Toth wrote those words in the 1980s, and since then more 2. Peyton Place is, above all, a novel about women—their by Bill Ott critics are finding in Peyton Place a novel that was ahead of desires, their frustrations, and their attempts to achieve some StoryLines New England Literature Consultant; its time in ways far beyond its explicit treatment of sex. -
Peyton Place Def2.Indd
www.elboomeran.com Peyton Place Peyton Place Prólogo de Boris Izaguirre CE METALI GRA OUS Peyton Place 7 Prólogo de Boris Izaguirre Título original: Peyton Place Diseño de colección e ilustración de cubierta: Setanta www.setanta.es © de la ilustración de cubierta: Sergio Ibáñez © del texto: Grace Metalious © de la traducción: Mª Teresa Segur Giralt © de la edición: Blackie Books S.L.U. Calle Esglèsia, 4-10 08024, Barcelona www.blackiebooks.org [email protected] Maquetación: David Anglès Impresión: Liberduplex Impreso en España Primera edición: marzo de 2010 ISBN: 978-84-937362-6-2 Depósito legal: B-XXXX-2010 Todos los derechos están reservados. Queda prohibida la reproducción total o parcial de este libro por cualquier medio o procedimiento, comprendidos la reprografía y el tratamiento informático, la fotocopia o la grabación sin el permiso expreso de los titulares del copyright. 20 El doctor Matthew Swain pasó lentamente frente a la casa de Kenny Stearns para ver, según sus propias palabras, si se había caído algún otro cuerpo fuera de la bodega. Vio que la ventana de la bodega de Kenny estaba abierta y la negra cortina ale- teaba al frío viento invernal, de modo que acercó el coche a la acera y se detuvo. «Por el amor de Dios —pensó—, si alguno de ellos se ha quedado dormido con esa ventana abierta, Mary tendrá un hospital lleno de borrachos enfermos.» Se apeó del vehículo y fue lentamente hacia la ventana de la bodega con la intención de echar una ojeada para asegurar- se de que todo iba bien y cerrar la ventana si ninguno de los borrachos estaba suficientemente despierto para hacerlo por sí mismo. -
Place PEYTON
PEYTON PLACE Episode 370 PEYTON Place Episode 370 Lundi 18 septembre 1967 NARRATION : WARNER ANDERSON Betty Anderson Cord a une fois de plus impliqué Rodney Harrington dans ses problèmes maritaux. Ayant désespérément besoin de parler à quelqu’un, elle lui confie ses craintes de perdre son mari, Steven, au profit d’Adrienne Van Leyden. Cette fois, cependant, Rodney se refuse à lui prodiguer son aide et son réconfort. Mais son rejet est plus une défense qu’une attaque. INTRO Rodney conduit sa décapotable jusqu’au coin du General Store et se gare devant le bâtiment de la banque, où se trouve le bureau de Steven Cord. Il entre dans le bâtiment. SCENE 1 Ne trouvant pas la secrétaire à son poste, Rodney frappe à la porte du bureau de Steven et entre. Il commence son laïus par demander à Steven ce qu’il veut : l’argent de Peyton, ou bien sa fiancée, ou bien les deux. Steven se met en colère et invite Rodney à quitter son bureau et à ne plus jamais revenir. « Et ne t’approche plus de ma femme », ajoute-t-il. Rodney s’en va. SCENE 2 Au manoir, le téléphone sonne et Peyton se lève pour aller répondre. C’est Charlie Tomlinson (ci-contre), le banquier. Ce dernier le prévient que Rodney a rendez-vous avec lui à 3 heures. Il souhaite emprunter de l’argent pour le garage. Peyton appelle Lee et lui demande d’aller dire à Mme Cord (Betty), de l’attendre à la banque à 3 heures. SCENE 3 Betty conduit Peyton à la banque dans sa décapotable rouge et l’aide à sortir du véhicule. -
Chère Grace Metalious, Une Simple Remarque. Rodney Harrington Et Betty Anderson Ont Fait Leur Petite Affaire À Silver Lake, Un Soir D’Été Très Humide
Chère Grace Metalious, Une simple remarque. Rodney Harrington et Betty Anderson ont fait leur petite affaire à Silver Lake, un soir d’été très humide. Rodney Junior est né le 31 octobre à New York. Comment est-ce possible ? Respectueusement, A. Farnsworth Wood 26 janvier 1960 A l’automne 1956, Mrs. Thomas H. Leary se plongea dans la lecture du livre incontournable du moment, un roman controversé dont l’intrigue se déroulait dans une ville fictive de Nouvelle- Angleterre : Peyton Place. Mais sa lecture fut semée d’embûches. Son fils, étudiant au prestigieux Dartmouth College, « était révulsé, écrivit-elle dans une lettre adressée à Grace Metalious, et mon mari n’était pas moins contrarié ». Distraite et frustrée par la réaction des hommes de sa famille, elle ne put prêter à l’histoire toute son attention. Mais, quelques années plus tard, l’épouse et mère de famille originaire de Seattle eut l’occasion de donner au roman une nouvelle chance. « Après avoir lu Retour à Peyton Place dernièrement, expliqua-t-elle, je n’ai tout bonnement pas pu m’empêcher de reprendre Peyton Place depuis le début. » Enfin seule, 11 274521UAR_PEYTON_CS6_PC.indd 11 23/01/2017 10:00:32 Mrs. Leary dévora les deux romans et confirma sa première impression : « Personnellement, j’ai trouvé l’histoire absolument fascinante… Surtout, continuez d’écrire – votre immense talent mérite d’être connu1*. » Mrs. Leary n’est certainement pas la seule à avoir lu Peyton Place en douce. Ni à supplier l’auteur de continuer à écrire – « peu importe les critiques ! », comme l’exprimera un autre correspondant.