Franz A. Birgel Muhlenberg College
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O Romance O Vice-Rei De Uidá, De Bruce Chatwin, E O Filmecobra Verde, De Werner Herzog: Um Estudo Da Transposição Midiática
O romance O vice-rei de Uidá, de Bruce Chatwin, e o filmeCobra verde, de Werner Herzog: um estudo da transposição midiática Maria Cristina Cardoso Ribas Mariana Castro de Alencar (...) uma nuvem sem contornos passa acima dele mudando constantemente de forma. Ora, o que se pode conhecer de uma nuvem, senão adivinhando-a sem nunca apreendê-la inteiramente? Georges Didi-Huberman Introdução – Falando de obras pouco difundidas quase desconhecido romance O Vice-Rei de Uidá (1980), do inglês Bruce Chatwin, inspirado na vida do traficante de escravos Francisco Félix de O Souza,1 recebeu, através do cineasta alemão Werner Herzog, uma releitura fílmica igualmente pouco conhecida, com o belo título Cobra Verde (1987). Ambos, escritor britânico e cineasta alemão, parceiros e amigos em franca desarmonia, en- toaram um fabuloso desconcerto a quatro mãos. Entre o documentário e a ficção, entre a grafia e a vida, entre a literatura e o cinema, neste saudável contágio, falaremos sobre o processo de transposição midi- ática, trazendo breve incursão teórica e a prática desenvolvida por estas polêmicas figuras. Para estudar a migração do texto literário para o fílmico, temos o aporte teórico das Intermidialidades (Clüver, 2006). A pesquisa sobre a Intermidialidade tem um inventário crítico fixo na comunidade de pesquisa de falantes de alemão, e amplo desenvolvimento em vários países da Europa e Estados Unidos; na Uni- versidade de Montreal, Canadá, foi criado, no ano de 1997, o Centre de Recherche sur l’Intermedialité (C.R.I.).2 36 ALCEU - v.18 - n.36 - -
Werner Herzog Retrospective
Home Category / Arts and Culture / Werner Herzog Retrospective Werner Herzog Retrospective Slave trade abolition in Cobra Verde Share it! 28 SHARES Published May 15, 2017, 12:05 AM By Rica Arevalo Film director Werner Herzog is a leading gure of the New German Cinema. Born on Sept. 5, 1942, his lms are unconventional and important with the art house audience. The Goethe-Institut Philippinen in partnership with the Film Development Council of the Philippines is showing Herzog’s acclaimed lms until June 4. On May 20, 6 p.m., Cobra Verde (1987) starring Klaus Kinski based on the novel, The Viceroy of Ouidah by Bruce Chatwin, is going to be screened at the FDCP Cinematheque Manila. Kinski plays Francisco Manoel da Silva, nicknamed Cobra Verde, a bandit who walks barefoot and does not own a horse for travelling. People are afraid and run away from him. He tells a bar owner that he never had a friend in all his life. At that time, slave trade was ourishing in Brazil. Black men were sold in exchange for ammunition, liquor, and silk. Cobra Verde meets Don Octavio, a sugar plantation owner who asks him to manage his elds. He accepted the job oer but impregnated Don Octavio’s daughters. To banish him, he was sent to Africa to buy slaves knowing that he will not survive. Cobra Verde took hold of a garrison, Fort Elmina, improved the place and lived there managing the slaves with Taparica (King Ampaw). The slave trade across the Atlantic and Brazil was their route. Werner Herzog and Klaus Kinski But “btlack people believe the devil is white” so the King’s men captured the two. -
WG Sebald and Outsider
Writing from the Periphery: W. G. Sebald and Outsider Art by Melissa Starr Etzler A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in German and the Designated Emphasis in Film Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Winfried Kudszus, Chair Professor Anton Kaes Professor Anne Nesbet Spring 2014 Abstract Writing from the Periphery: W. G. Sebald and Outsider Art by Melissa Starr Etzler Doctor of Philosophy in German and the Designated Emphasis in Film Studies University of California, Berkeley Professor Winfried Kudszus, Chair This study focuses on a major aspect of literature and culture in the later twentieth century: the intersection of psychiatry, madness and art. As the antipsychiatry movement became an international intervention, W. G. Sebald’s fascination with psychopathology rapidly developed. While Sebald collected many materials on Outsider Artists and has several annotated books on psychiatry in his personal library, I examine how Sebald’s thought and writings, both academic and literary, were particularly influenced by Ernst Herbeck’s poems. Herbeck, a diagnosed schizophrenic, spent decades under the care of Dr. Leo Navratil at the psychiatric institute in Maria Gugging. Sebald became familiar with Herbeck via the book, Schizophrenie und Sprache (1966), in which Navratil analyzed his patients’ creative writings in order to illustrate commonalities between pathological artistic productions and canonical German literature, thereby blurring the lines between genius and madness. In 1980, Sebald travelled to Vienna to meet Ernst Herbeck and this experience inspired him to compose two academic essays on Herbeck and the semi-fictionalized account of their encounter in his novel Vertigo (1990). -
Newsletter 1
NEWSLETTER 1 Frühjahr / Spring 2018 Kaspar Hauser Forschungskreis Kaspar Hauser Research Circle www.kaspar-hauser.net Published by the Kaspar Hauser Forschungkreis at the Karl König Institute Berlin · Editors: Eckart Böhmer, Richard Steel, Winfried Altmann Eckart Böhmer Eckart Böhmer Willkommen Welcome zum ersten Newsletter to our first Newsletter! Nun kann der Kaspar Hauser For- (Stuttgart). Gut 20 Kisten konnten wir This first Newsletter of the Kaspar schungskreis auf das erste Jahr seiner bereits katalogisieren, wobei wir schon Hauser Research Circle already looks Tätigkeit zurückblicken. Und wir kön- einige Schätze finden konnten. back at one year of activity since the nen sagen, dass einige wichtige und gute Ein wichtiger Punkt darunter ist bei- founding at Michaelmas 2016. And we Dinge geschehen sind! So war es bei- spielsweise der Briefaustausch zwischen are happy to note that much has happe- spielsweise möglich, ein gutes Büro zu Jakob Wassermann und Hermann Pies. ned in that time! Since then a very good finden, das auch über genügend Stau- Ein schöner Artikel hierzu, mit den Ab- office has been found for the Karl König raum verfügt. Und da es sich um einen bildungen der Originale, findet sich auf Institute where there is enough space to Neubau handelt, ist auch für ausrei- unserer Webseite, verfasst von Dorothea begin with the archiving of the many chende Trockenheit gesorgt, was für die Sonstenes. Dieser Austausch belegt die books and documents for which we have vielen Kisten des Nachlasses von nicht Schlüsselposition, die Wassermann für taken responsibility. It is of great impor- zu unterschätzender Wichtigkeit ist. Im Hermann Pies inne hatte, sodass er als tance for archiving, that this building Haus, das sich im Besitz der Christenge- Impulsgeber gesehen werden kann für provides storage space with a climate meinschaft Kleinmachnow befindet, die dann folgende Lebensaufgabe des safe for the documents. -
William Kentridge Brings 'Wozzeck' Into the Trenches
William Kentridge Brings ‘Wozzeck’ Into the Trenches The artist’s production of Berg’s brutal opera, updated to World War I, has come to the Metropolitan Opera. By Jason Farago (December 26, 2019) ”Credit...Devin Yalkin for The New York Times Three years ago, on a trip to Johannesburg, I had the chance to watch the artist William Kentridge working on a new production of Alban Berg’s knifelike opera “Wozzeck.” With a troupe of South African performers, Mr. Kentridge blocked out scenes from this bleak tale of a soldier driven to madness and murder — whose setting he was updating to the years around World War I, when it was written, through the hand-drawn animations and low-tech costumes that Metropolitan Opera audiences have seen in his stagings of Berg’s “Lulu” and Shostakovich’s “The Nose.” Some of what I saw in Mr. Kentridge’s studio has survived in “Wozzeck,” which opens at the Met on Friday. But he often works on multiple projects at once, and much of the material instead ended up in “The Head and the Load,” a historical pageant about the impact of World War I in Africa, which New York audiences saw last year at the Park Avenue Armory. Mr. Kentridge’s “Wozzeck” premiered at the Salzburg Festival in 2017. Zachary Woolfe of The New York Times called it “his most elegant and powerful operatic treatment yet.” At the Met, the Swedish baritone Peter Mattei will sing the title role for the first time; Elza van den Heever, like Mr. Kentridge from Johannesburg, plays his common-law wife, Marie; and Yannick Nézet- Séguin, the company’s music director, will conduct. -
Pseudoscience and Science Fiction Science and Fiction
Andrew May Pseudoscience and Science Fiction Science and Fiction Editorial Board Mark Alpert Philip Ball Gregory Benford Michael Brotherton Victor Callaghan Amnon H Eden Nick Kanas Geoffrey Landis Rudi Rucker Dirk Schulze-Makuch Ru€diger Vaas Ulrich Walter Stephen Webb Science and Fiction – A Springer Series This collection of entertaining and thought-provoking books will appeal equally to science buffs, scientists and science-fiction fans. It was born out of the recognition that scientific discovery and the creation of plausible fictional scenarios are often two sides of the same coin. Each relies on an understanding of the way the world works, coupled with the imaginative ability to invent new or alternative explanations—and even other worlds. Authored by practicing scientists as well as writers of hard science fiction, these books explore and exploit the borderlands between accepted science and its fictional counterpart. Uncovering mutual influences, promoting fruitful interaction, narrating and analyzing fictional scenarios, together they serve as a reaction vessel for inspired new ideas in science, technology, and beyond. Whether fiction, fact, or forever undecidable: the Springer Series “Science and Fiction” intends to go where no one has gone before! Its largely non-technical books take several different approaches. Journey with their authors as they • Indulge in science speculation—describing intriguing, plausible yet unproven ideas; • Exploit science fiction for educational purposes and as a means of promoting critical thinking; • Explore the interplay of science and science fiction—throughout the history of the genre and looking ahead; • Delve into related topics including, but not limited to: science as a creative process, the limits of science, interplay of literature and knowledge; • Tell fictional short stories built around well-defined scientific ideas, with a supplement summarizing the science underlying the plot. -
Woyzeck Bursts Onto the Ensemble Theatre Company Stage
MEDIA RELEASE CONTACT: Josh Gren [email protected] or 805.965.5400 x103 ELECTRIFYING TOM WAITS MUSICAL WOYZECK BURSTS ONTO THE ENSEMBLE THEATRE COMPANY STAGE March 25, 2015 – Santa Barbara, CA — The influential 19th Century play about a soldier fighting to retain his humanity has been transformed into a tender and carnivalesque musical by the legendary vocalist, Tom Waits. “If there’s one thing you can say about mankind,” the show begins, “there’s nothing kind about man.” The haunting opening phrase is the heart of the thrilling, bold, and contemporary English adaptation of Woyzeck – the classic German play, being presented at Ensemble Theatre Company this April. Inspired by the true story of a German soldier who was driven mad by army medical experiments and infidelity, Georg Büchner’s dynamic and influential 1837 poetic play was left unfinished after the untimely death of its author. In 2000, Waits and his wife and collaborator, Kathleen Brennan, resurrected the piece, wrote music for an avant-garde production in Denmark, and the resulting work became a Woyzeck musical and an album entitled “Blood Money.” “[The music] is flesh and bone, earthbound,” says Waits. “The songs are rooted in reality: jealousy, rage…I like a beautiful song that tells you terrible things. We all like bad news out of a pretty mouth.” Woyzeck runs at the New Vic Theater from April 16 – May 3 and opens Saturday, April 18. Jonathan Fox, who has served as ETC’s Executive Artistic Director since 2006, will direct the ambitious, wild, and long-awaited musical. “It’s one of the most unusual productions we’ve undertaken,” says Fox. -
Rescue Dawn La Cavale Secours À L’Aube — États-Unis 2007, 126 Minutes Charles-Stéphane Roy
Document généré le 28 sept. 2021 03:04 Séquences La revue de cinéma Rescue Dawn La cavale Secours à l’aube — États-Unis 2007, 126 minutes Charles-Stéphane Roy Léo Bonneville 1919-2007 Numéro 250, septembre–octobre 2007 URI : https://id.erudit.org/iderudit/58972ac Aller au sommaire du numéro Éditeur(s) La revue Séquences Inc. ISSN 0037-2412 (imprimé) 1923-5100 (numérique) Découvrir la revue Citer ce compte rendu Roy, C.-S. (2007). Compte rendu de [Rescue Dawn : la cavale / Secours à l’aube — États-Unis 2007, 126 minutes]. Séquences, (250), 43–43. Tous droits réservés © La revue Séquences Inc., 2007 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ CRITIQUES I LES FILMS RESCUE DAWN I La cavale // fut un temps où les bravades de Werner Herzog dans des contrées impossibles attiraient les badauds par milliers dans les salles. Après avoir été jusqu'au bout de l'enfer et en être revenu d'innombrables fois, l'Allemand a délaissé la fiction le temps de plusieurs documentaires réussis, plus inspiré par les vrais fous que par ses créations. -
WOYZECK a Record and Analysis of a Production by JOHN C. RAPSEY BA, B Ishop
WOYZECK A Record and Analysis of a Production by JOHN C. RAPSEY B.A., Bishop's University, 1967 THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in the Department of THEATRE We accept this thesis as conforming to the required atandatd THE UNIVERSITY OF BRITISH COLUMBIA July, 1969 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and Study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department The University of British Columbia Vancouver 8, Canada ABSTRACT Woyzeck, an unfinished play from the year 1837 ti by the German playwright Georg Buchner, was produced and directed by John Rapsey, in partial fulfilment of the requirements for a Master of Arts degree in the Department of Theatre of the University of British Columbia, at the Dorothy Somerset Studio from October 16 - 19, 1968. The following is a detailed record of that production along with the director's analysis and interpretation of the script. Woyzeck was produced on a budget of $350.00 and was performed four times by a predominantly student cast in a theatre seating approximately ninety people. Settings, costumes and seating arrangement were designed by Irene Rapsey. This record is divided into three main sections. -
Bruce Chatwin E Werner Herzog, Livro E Filme: Vidas Entrelaçadas1
Dossiê – N. 32 – 2016.2 – Mariana Castro de Alencar Maria Cristina Cardoso Ribas Bruce Chatwin e Werner Herzog, livro e filme: vidas entrelaçadas1 Mariana Castro de Alencar2 Maria Cristina Cardoso Ribas3 Universidade do Estado do Rio de Janeiro Resumo: Este artigo apresenta o encontro entre o cineasta alemão Werner Herzog e o autor inglês Bruce Chatwin, suas afinidades na trajetória de vida, pensamento e obra, analisando suas vivências entrelaçadas e guiadas sempre pelo amor à arte, às viagens e às experiências intensas de vida em relação aos seus modi operandi. Nessa mistura, surgiu, em parceria, não somente um produto singular - o filme Cobra Verde -, mas também um encontro de vida, arte, e incansável busca pelo autoconhecimento que valoriza os limites humanos. Herzog encontrou em Chatwin a personificação da intensidade sinestésica no simples desejo de contar histórias, potência estética das obras de ambos, tecidas por elementos inusitados que vão de paisagens impossíveis a elencos ímpares que atuam e interferem nas sequências. Bruce Chatwin ofereceu ao cineasta um exemplo de aproveitamento da vida de forma descomedida, que dialoga bem com a práxis cinematográfica do colega cineasta. Do valioso encontro de seus projetos artísticos, destacam-se o aspecto sacramental da marcha (Chatwin) e a definição impossível dos limites da visão (Herzog), cujo impacto é partilhado especialmente na adaptação fílmica - Cobra Verde - de o romance O Vice-Rei de Uidá. Palavras-chave: Werner Herzog. Bruce Chatwin. Cobra Verde. O Vice-Rei de Uidá. Literatura e cinema. O encontro de duas personalidades assemelha-se ao contato de duas substâncias químicas: se alguma reação ocorre, ambos sofrem uma transformação. -
Berg's Worlds
Copyrighted Material Berg’s Worlds CHRISTOPHER HAILEY Vienna is not the product of successive ages but a layered composite of its accumulated pasts. Geography has made this place a natural crossroads, a point of cultural convergence for an array of political, economic, religious, and ethnic tributaries. By the mid-nineteenth century the city’s physical appearance and cultural characteristics, its customs and conventions, its art, architecture, and literature presented a collage of disparate historical elements. Gothic fervor and Renaissance pomp sternly held their ground against flights of rococo whimsy, and the hedonistic theatricality of the Catholic Baroque took the pious folk culture from Austria’s alpine provinces in worldly embrace. Legends of twice-repelled Ottoman invasion, dreams of Holy Roman glories, scars of ravaging pestilence and religious perse- cution, and the echoes of a glittering congress that gave birth to the post-Napoleonic age lingered on amid the smug comforts of Biedermeier domesticity. The city’s medieval walls had given way to a broad, tree-lined boulevard, the Ringstrasse, whose eclectic gallery of historical styles was not so much a product of nineteenth-century historicist fantasy as the styl- ized expression of Vienna’s multiple temporalities. To be sure, the regulation of the Danube in the 1870s had channeled and accelerated its flow and introduced an element of human agency, just as the economic boom of the Gründerzeit had introduced opportunities and perspectives that instilled in Vienna’s citizens a new sense of physical and social mobility. But on the whole, the Vienna that emerged from the nineteenth century lacked the sense of open-ended promise that charac- terized the civic identities of midwestern American cities like Chicago or St. -
Sixth- OVER 1,000 Attended the Ms
THE * W C H iY A L STUDENT NEWSPAPER OF THE UNIVERSITY OF NEWCASTLE UPON TYNE WEDNESDAY, 6th FEBRUARY, 1980 No. 628. PRICE: 5p THREAT TO N.U.S.? RAG MAG THE Anti-National Union sible student challenges the by the governing authorities. would be saved by disaffiliation, N.U.S. movement we will res A proposed change in the of Students group As the actual contribution government allocation of the particularly as there has been pond accordingly. I do not ner student amounts to only a capitation fee, will mean that a cut of thirty per cent in the (A .N .U .S .) appears to be regard A.N.U.S. as an organis little over two pounds, it instead of this being .paid by grants to S.R.C. societies. In SALE gaining support amongst ation which legitimately rep appears that the membership oflocal authorities it will be addition to the cost of mem resents the views of a some Newcastle students. N.U.S. are getting exceedingly controlled from a central bership, approximately £2,000 significant number of good value for money. Tund. However, the actual is spent annually on sending The movement claims students” . Secretary Claire Sheehan amount which is paid on be delegates to N.U.S. Con that disaffiliation from Nigel Wild said that he felt has given a concise breakdown half of each student will ferences. the leaders of the “anti” move BANNED the national body will of the contribution of New probably be reduced. The student body as a ment had been significantly castle University students to In view of this there is a influenced by their own pre whole will have the opportunity save over £13,000 a year, its present organisation.