DOCSLIB.ORG

Webct Course. Please Make Sure to Access All Documents Before Class Session

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Webct Course. Please Make Sure to Access All Documents Before Class Session SPRING 2008 Prof. Ghislaine Géloin, Modern Languages Department Office: Craig Lee CL 147. X 8707 [email protected] Office hours: M, W 11-1 or by appointment. GENERAL EDUCATION CORE IV : CRITICAL INQUIRY. AFAM 262/01 -- THE FRANCOPHONE AFRICAN WORLD. WebCT course. Please make sure to access all documents before class session Course description This course is designed to introduce you to the cultural products of the French- speaking African world. Art, poetry, novels, plays, films and essays in translation are analyzed as documents of historical, social, political and cultural issues of Francophone Africa. Films provide authentic cultural products to explore important aspects of Africa. Students will thus be able to experience the fabric and texture of African. A variety of topics have been selected in order to familiarize you with essential cultural aspects of African countries that have been influenced by French colonization. (See detailed description of topics of exploration in Course content.) Throughout the course you will come to understand the complex realities of Africa, its geographical, historical and social/cultural contexts and its relationships to the West, especially to France. You will listen to African voices telling their side of the story on colonial, neo-colonial, postcolonial Francophone Africa as well as on the cultural values of traditional and contemporary Africa. You will thereby better understand African perspectives, the relationship and the ongoing dialogue between the West and the Non-West as illustrated through the examples of Francophone Africa. By learning about a part of the world that you are not familiar with, you will become more aware of other cultures. In order to provide cultural diversity in your general education and a reflection on the Non-West / West dichotomy, the course seeks to develop tolerance, understanding and celebration of other cultures. Specific course (CORE IV) objectives • To make you discover the Francophone African countries; to examine their interconnectedness because of a common historical (painful) past and a common language, their relation to the rest of Africa and to the West through the concept of Francophonie. • To bring to the fore « marginal » cultures and minor literatures about which you have no knowledge and which will make you recognize cultural diversity. 2 • To think critically about cultures which are in the Non-Western world and to challenge the stated boundaries of West and Non-West when it comes to the African countries. Critical analysis is necessary in a complex and often contradictory world in order to comprehend the Global World. • To improve your writing skills through writing assignments on topics, themes or « problems » connected to the African world in past and present. The final paper will require careful development, library research, and critical thought. [See Guidelines about writing for General Education p.11-14] • Readings will lead to class discussion. Study guides (with questions and topics) are posted on WebCT in order to help you with your reading and to stimulate class discussions. Pedagogy and class format Close reading and textual analysis. A mix between lectures and class discussions. Questions /answers format. Your instructor does not make claim to have all the answers. This is not the nature of a GE course. The course raises a series of issues that, in turn, raise your interest and desire to investigate further and engage in a topic. The topics have been chosen to provoke critical inquiry and critical thinking around a series of questions, mainly the problematic relationship between the “Non-Western” and the Western worlds. There is not one simple answer. Course requirements -- Attendance policy : Regular class attendance is mandatory. • You are allowed a total of 3 unexcused absences, (those for which you do not present an official, written, documentation). Starting the 4th unexcused absence your participation grade will go down by one letter grade for every class absence. -- Classroom etiquette / courtesy . Please do not take offense about class policy. List of don’ts that will affect your final grade : • Classroom behavior. Your attitude and respect toward the class and your peers are expected. Too much talking with your neighbors disrupts the class. Please no cell phone ringing or checking messages, sending SMS, playing with your cell, etc., (in case of anticipated emergency, inform your instructor) • Systematic late arrivals (grace period 15’), early departures, short leaves during class period. Be prompt! • Sleeping or nodding off during class period will equal to an absence. You may be asked to leave class and go to the health center. • Doing homework on non-class related material and reading books in class. • Not being prepared for class. Completion of reading for the session it has been assigned is required. This is the only way to actively engage in the learning process and the material. If you feel that you must do your reading in class, you will be asked to go to the library. This also means that you bring the books, the downloaded lectures and required material in class the day they are needed. Since we do textual analysis you need 3 books and documents for reference. Take good notes; this is the key to your success in the course • Not submitting assignments and papers on time. -- Assignments and papers are due on the assigned day. If you send your paper electronically make sure that you get a receipt notice. (Students experience mysterious internet problems whenever a paper is due). No acknowledgment means no papers have been submitted. -- Non exam materials (papers, paragraphs…) will be accepted up to one class day after the due date if you provide an official excuse. After one class day, it will not be accepted at all. It is always advisable to turn in your work early if you know that you will be absent on a particular day. If you have special circumstances, make special arrangement with your instructor so that another contract can be drawn. Put your work on my desk when you arrive. • Make-up exams are allowed with an official excuse. I expect prior notification that is before the exam day. Make-up exams will not be accepted at all after exams have been returned. There are no make-up for quizzes. GRADING POLICY The final grade is based on • Active class participation : the discussion format of the class is intended to serve as a way to assess students level of understanding and area of concern. Questions and comments are expected from assigned readings. Students’ responsibility is to contribute constructively to the class discussion. Low stakes writing (one page writing) and quizzes on readings will count as part of your participation grade……………………………………………… 20% • Three tests will measure knowledge acquired after major works have been studied. Short answers and essay questions ………………………………… 20% • Two papers (5 pages) from works discussed, summarizing discussion and in- depth exploration of a theme. These will be considered as preparatory training for the final paper + Portfolio on an African country………………………… 20% • Final paper (8-10 pages): Ongoing research during the course. Topics must be • approved in advance after midterm. It is worth 0.33%. Appropriate bibliography and notes are included to indicate where sources of information were gained (0.33%) …………………………………………........................................... 20% • Final exam will synthesize knowledge acquired in the course Identifications, short answers and essay questions………………………….. 20% ************************************************************************ Required texts (available at the campus bookstore unless it is specified “handout”) Make sure that you buy your books before midterm since the bookstore returns unsold books before midterm. Houseboy, Oyono, 1956, (Cameroon) Ambiguous Adventure, Cheik Hamidou Kane,1961, (Senegal) A Season in the Congo, Césaire, 1966 (handout) Xala, Ousmane Sembene, 1974, (Senegal) 4 Films Les Statues meurent aussi, Even Statues die, Resnais, 1954 Lumumba, Death of a prophet, 1992, (excerpts) Lumumba (excerpts) Raoul Peck. Mobutu, King of Zaire, Thierry Michel, 1999. Portraits de femmes, Faces of Women, Désiré Ecaré, 1985 (Ivory Coast) Yeelen, Souleymane Cissé, 1987, Mali La Petite Vendeuse de Soleil, The Little Girl Who Sold The Sun, Mambety, 1999 (Senegal). Course content, organization and schedule WEEK ONE Jan 22 Syllabus presentation and discussion. Books and reading assignments. Importance on finishing reading material for the day it is assigned. Do not fall behind. Allow yourself at least two weeks to read the material. Study the books with the Study guide available on WebCT in Guidelines for reading assignments and take good notes. Think ahead about topics for your papers and for your final research paper by mid-semester. What makes a good paper (1. Structure and organization; 2. Analysis and critical thinking; 3. Spelling, grammar, style, (see Guidelines p.11-14). Use the Writing Center if you experience difficulties. -- INTRODUCING AFRICA : Why study Africa? -- LECTURE 1 - Francophone Africa (download on WebCT in Lectures notes) Presentation of the course content : The French-speaking African countries that share a common language. Maps of Africa. Physical and political geography of Francophone Africa versus Anglophone and Lusophone Africa. French as an official, administrative, international, or tool language; French language of cultural expression for African intellectuals and writers. Assignment: -- * Exploring Africa 1) Google earth in African links (WebCT) 2) In preparation to your semester portfolio “Adopt an African country”, learn how to gather good information on current events/ news in Africa and positive developments. Report to class on Jan 29 and turn in your one typed double-spaced page. Here are some links / Websites News agency dedicated to Africa : www.afrol.com The Guardian news. BBC world news, New York times (section Africa) Access to African newspapers : http://www.ipl.org/div/news/browse/AFR/ http:// www.africapolicy.org or use African Links in the WebCT course Use Google to find maps of Africa : Type : maps of Africa * Download LECTURE 1 and 2 - Francophonie and OIF in Lectures notes.
Load more

Recommended publications
  • Before the Forties
    Before The Forties director title genre year major cast USA Browning, Tod Freaks HORROR 1932 Wallace Ford Capra, Frank Lady for a day DRAMA 1933 May Robson, Warren William Capra, Frank Mr. Smith Goes to Washington DRAMA 1939 James Stewart Chaplin, Charlie Modern Times (the tramp) COMEDY 1936 Charlie Chaplin Chaplin, Charlie City Lights (the tramp) DRAMA 1931 Charlie Chaplin Chaplin, Charlie Gold Rush( the tramp ) COMEDY 1925 Charlie Chaplin Dwann, Alan Heidi FAMILY 1937 Shirley Temple Fleming, Victor The Wizard of Oz MUSICAL 1939 Judy Garland Fleming, Victor Gone With the Wind EPIC 1939 Clark Gable, Vivien Leigh Ford, John Stagecoach WESTERN 1939 John Wayne Griffith, D.W. Intolerance DRAMA 1916 Mae Marsh Griffith, D.W. Birth of a Nation DRAMA 1915 Lillian Gish Hathaway, Henry Peter Ibbetson DRAMA 1935 Gary Cooper Hawks, Howard Bringing Up Baby COMEDY 1938 Katharine Hepburn, Cary Grant Lloyd, Frank Mutiny on the Bounty ADVENTURE 1935 Charles Laughton, Clark Gable Lubitsch, Ernst Ninotchka COMEDY 1935 Greta Garbo, Melvin Douglas Mamoulian, Rouben Queen Christina HISTORICAL DRAMA 1933 Greta Garbo, John Gilbert McCarey, Leo Duck Soup COMEDY 1939 Marx Brothers Newmeyer, Fred Safety Last COMEDY 1923 Buster Keaton Shoedsack, Ernest The Most Dangerous Game ADVENTURE 1933 Leslie Banks, Fay Wray Shoedsack, Ernest King Kong ADVENTURE 1933 Fay Wray Stahl, John M. Imitation of Life DRAMA 1933 Claudette Colbert, Warren Williams Van Dyke, W.S. Tarzan, the Ape Man ADVENTURE 1923 Johnny Weissmuller, Maureen O'Sullivan Wood, Sam A Night at the Opera COMEDY
    [Show full text]
  • Innovations 2020 Legend
    THE WORLD OF LAPP Innovations 2020 Legend Industries Product characteristics Automation Suitable for outdoor use Power chain Good chemical e-Mobility Clean room resistance Food & Beverage Flame-retardant Robust Mechanical and Wide clamping range Acid-resistant Plant Engineering Oil & Gas Halogen-free Reliability Integrated Rail Heat-resistant SKINTOP® cable gland Solar Energy Cold-resistant Voltage Connector with Wind Energy Corrosion-resistant standard housing unit Maximum vibration Interference signals protection Mechanical resistance Temperature-resistant Assembly time Torsion-resistant Please note: Low weight Torsion load The purpose of the icons is to provide you with a quick overview and a rough indication of the Oil-resistant UV-resistant product features to which the corresponding information relates. You can find details of product Optimum strain relief Waterproof characteristics in the “technical data” sections on the product Variety of approval pages. Space requirement certifications Content Content . Company information. 2 ÖLFLEX® . Power and control cables . 6 ETHERLINE® Data communication systems . for Ethernet technology . 13 HITRONIC® . Optical transmission systems. 16 EPIC® . Industrial connectors . 18 SKINTOP® . Cable glands. 23 FLEXIMARK® . Marking systems . 30 . Tools and cable accessories . 33 1 Andreas Lapp, Matthias Lapp, Ursula Ida Lapp, Alexander Lapp, Siegbert Lapp. 2 Family On course for success Family business and global player Success built on family values staff around the world, as well as LAPP is both. The history of our company At LAPP, we maintain values that the reliable partnership with our has been one of success and expansion promote cooperation and enable customers. ever since it was founded in 1959 by relationships with employees, suppliers Ursula Ida and Oskar Lapp.
    [Show full text]
  • Detective Fiction in Spain Through the Works of García Pavón, Cain, Vázquez Montalbán and Thompson
    UNIVERSIDAD AUTÓNOMA DE MADRID FACULTAD DE FILOSOFÍA Y LETRAS Programa de Doctorado en Estudios Artísticos, Literarios y de la Cultura Ph.D. Dissertation From the Periphery to the Canon: Detective Fiction in Spain Through the Works of García Pavón, Cain, Vázquez Montalbán and Thompson. An Application of Polysystem Theories of Translation. By: Isabel Palomo Merino Directed by: Dr. Javier Ortiz García, Universidad Autónoma de Madrid Madrid, 2017 Dissertation Abstract – Universidad Autónoma de Madrid From the Periphery to the Canon: Detective Fiction in Spain Through the Works of García Pavón, Cain, Vázquez Montalbán and Thompson. An Application of Polysystem Theories of Translation. Isabel Palomo Merino Directed by: Dr. Javier Ortiz García, Universidad Autónoma de Madrid Madrid, 2017 Detective fiction has become one of the most popular genres in our present times; but why and how did detective fiction become so popular in Spain? This dissertation studies the development of the genre of detective fiction in Spain, written both by Spanish writers and as translations from American authors, framed within the historical period that extends from the Franco Regime up to our present days. It was during the dictatorship that translations of foreign detective fiction started to reach the country and a sense of collective imagination on the topic began to be created, influenced also by the movie adaptations that reached Spain, by the numerous pseudotranslations, and by journals like El Caso. The foreign model of detective fiction was adopted by national writers who re- created it within a new context: classic detective fiction influenced the work of Francisco García Pavón, and hardboiled detective fiction –analyzed through the works of James M.
    [Show full text]
  • Doing Theatre: Theatre Pedagogy Through the Folktale
    80 Doing Theatre: Theatre Pedagogy through the Folktale Jean Small Professor Emerita, UWI Kingston, Jamaica [email protected] Abstract Theatre Pedagogy holds that cognition is body-based. Through performance the body’s unconscious procedural memory learns. This information learned through repeated interaction with the world is transmitted to the brain where it becomes conscious knowledge. Theatre Pedagogy in this case study is based on the implementation of a Caribbean cultural art form in performance, in order to teach Francophone language and literature at the postsecondary level in Jamaica. This paper describes the experience of “doing theatre” with seven university students to learn the French language and literature based on an adaptation of two of Birago Diop’s folktales. In the process of learning and performing the plays, the students also understood some of the West African cultural universals of life which cut across the lives of learners in their own and in foreign cultural contexts. Keywords: Birago Diop, heritage folktale, cognition, theatre performance, theatre pedagogy Context The Caribbean is an artificially created space peopled at the service of colonization and the plantation system. Jamaica, like the other islands in the Caribbean, has a population of which the largest percentage is of African ancestry, since their forefathers were brought as slaves mainly, from West Africa. The slaves carried with them through the Middle Passage, not only their physical selves, but their language and culture which have been passed on orally, from generation to generation, resulting in the development of an Afrocentric Caribbean culture that is unconsciously owned and practised by the general populace.
    [Show full text]
  • Teaching the Short Story: a Guide to Using Stories from Around the World. INSTITUTION National Council of Teachers of English, Urbana
    DOCUMENT RESUME ED 397 453 CS 215 435 AUTHOR Neumann, Bonnie H., Ed.; McDonnell, Helen M., Ed. TITLE Teaching the Short Story: A Guide to Using Stories from around the World. INSTITUTION National Council of Teachers of English, Urbana, REPORT NO ISBN-0-8141-1947-6 PUB DATE 96 NOTE 311p. AVAILABLE FROM National Council of Teachers of English, 1111 W. Kenyon Road, Urbana, IL 61801-1096 (Stock No. 19476: $15.95 members, $21.95 nonmembers). PUB 'TYPE Guides Classroom Use Teaching Guides (For Teacher) (052) Collected Works General (020) Books (010) EDRS PRICE MF01/PC13 Plus Postage. DESCRIPTORS Authors; Higher Education; High Schools; *Literary Criticism; Literary Devices; *Literature Appreciation; Multicultural Education; *Short Stories; *World Literature IDENTIFIERS *Comparative Literature; *Literature in Translation; Response to Literature ABSTRACT An innovative and practical resource for teachers looking to move beyond English and American works, this book explores 175 highly teachable short stories from nearly 50 countries, highlighting the work of recognized authors from practically every continent, authors such as Chinua Achebe, Anita Desai, Nadine Gordimer, Milan Kundera, Isak Dinesen, Octavio Paz, Jorge Amado, and Yukio Mishima. The stories in the book were selected and annotated by experienced teachers, and include information about the author, a synopsis of the story, and comparisons to frequently anthologized stories and readily available literary and artistic works. Also provided are six practical indexes, including those'that help teachers select short stories by title, country of origin, English-languag- source, comparison by themes, or comparison by literary devices. The final index, the cross-reference index, summarizes all the comparative material cited within the book,with the titles of annotated books appearing in capital letters.
    [Show full text]
  • Bertrand Tavernier's Coup De Torchon
    N AHEM Y OUSAF A Southern Sheriff’s Revenge: Bertrand Tavernier’s Coup de Torchon This essay traces the story of a Texan small-town sheriff as first told and reworked by the American pulp fiction writer Jim Thompson in The Killer Inside Me (1952) and Pop. 1280 (1964), and transformed by French film director Bertrand Tavernier when he transposes this par- ticular ‘Southern’ sheriff’s story to colonial Senegal in 1938 in Coup de Torchon (Clean Slate, 1980). To begin, this essay considers why Thompson shifts his story from the American ‘West’ in the 1950s to the American ‘South’ in the 1960s before examining in some detail the ways in which Tavernier’s cross-cultural and trans-generic remake of Pop. 1280 successfully interrogates southern tropes in non-southern settings. The image of the Southern sheriff in twentieth-century fiction and film accrued mainly negative connotations, by focusing on the stakes sheriffs had in white supremacy and in maintaining a segregated sta- tus quo, or exploring their limited efforts to move beyond being either ineffectual or corrupt – or both. In novels such as Erskine Caldwell’s Trouble in July (1940) and Elizabeth Spencer’s The Voice at the Back Door (1956), for example, the small-town sheriff is mired in a moral dilemma. Spencer created Mississippi sheriff Duncan Harper while living in Italy. Thrust into office by the dying incumbent, he struggles against racist crimes that have been ignored in the past, the repercus- sions of which threaten the present. He dies having made a racially liberal plea to the town that after his death may choose to deem him merely eccentric.
    [Show full text]
  • Film Soleil 28/9/05 3:35 Pm Page 2 Film Soleil 28/9/05 3:35 Pm Page 3
    Film Soleil 28/9/05 3:35 pm Page 2 Film Soleil 28/9/05 3:35 pm Page 3 Film Soleil D.K. Holm www.pocketessentials.com This edition published in Great Britain 2005 by Pocket Essentials P.O.Box 394, Harpenden, Herts, AL5 1XJ, UK Distributed in the USA by Trafalgar Square Publishing P.O.Box 257, Howe Hill Road, North Pomfret, Vermont 05053 © D.K.Holm 2005 The right of D.K.Holm to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form, or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of the publisher. Any person who does any unauthorised act in relation to this publication may beliable to criminal prosecution and civil claims for damages. The book is sold subject tothe condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out or otherwise circulated, without the publisher’s prior consent, in anyform, binding or cover other than in which it is published, and without similar condi-tions, including this condition being imposed on the subsequent publication. A CIP catalogue record for this book is available from the British Library. ISBN 1–904048–50–1 2 4 6 8 10 9 7 5 3 1 Book typeset by Avocet Typeset, Chilton, Aylesbury, Bucks Printed and bound by Cox & Wyman, Reading, Berkshire Film Soleil 28/9/05 3:35 pm Page 5 Acknowledgements There is nothing
    [Show full text]
  • University Microfilms International 3D0 N
    THE NARRATIVES OF BERNARD DADIE AND BIRAGO DIOP: AN EXAMINATION OF THEIR MYTHOLOGICAL AND COSMOLOGICAL FRAMEWORK AND AN ANALYSIS OF SELECTED STRUCTURAL ASPECTS Item Type text; Dissertation-Reproduction (electronic) Authors Tollerson, Marie Sherrod Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 23/09/2021 15:32:00 Link to Item http://hdl.handle.net/10150/289247 INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame.
    [Show full text]
  • Vanity If We Tell, Gently, Gently All That We Shall One Day Have to Tell, Who
    Vanity If we tell, gently, gently All that we shall one day have to tell, Who then will hear our voices without laughter, Sad complaining voices of beggars Who indeed will hear them without laughter? If we cry roughly of our torments Ever increasing from the start of things What eyes will watch our large mouths Shaped by the laughter of big children What eyes will watch our large mouth? What hearts will listen to our clamoring? What ear to our pitiful anger Which grows in us like a tumor In the black depth of our plaintive throats? When our Dead comes with their Dead When they have spoken to us in their clumsy voices; Just as our ears were deaf To their cries, to their wild appeals Just as our ears were deaf They have left on the earth their cries, In the air, on the water, where they have traced their signs for us blind deaf and unworthy Sons Who see nothing of what they have made In the air, on the water, where they have traced their signs And since we did not understand the dead Since we have never listened to their cries If we weep, gently, gently If we cry roughly to our torments What heart will listen to our clamoring, What ear to our sobbing hearts? Summary The title “vanity” portrays the folly of the living who in spite of having been bequeathed with many legacies have arrogantly and ignorantly failed to honour their dead ancestors. He laments as follows: “They have left on the earth their cries.
    [Show full text]
  • Paulin Vieyra Workshop 16 • Purpose • Speaker Topics • Participant Biographies • Sources
    September 5-6 IndiAnA University Wells LibrAry PIONEER OF AFRICAN CINEMAS | FILMMAKER | PRODUCER | HISTORIAN WORKSHOP Program Thursday, September 5th 11:30-1:30 PM Ousmane Sembène Archives Pop-Up Exhibit Lilly Library Welcome Erika Dowell, Associate Director, Lilly Library Terri Francis, Director, Black Film Center/Archive 2-2:45 PM Introductions Wells Library 044B – Phyllis Klotman Room Participants briefy introduce themselves Keynote Vincent Bouchard (Moderator, Indiana University) Stéphane Vieyra, Presentation of Paulin S. Vieyra’s Archives 3-4:30 PM Vieyra, Filmmaker Wells Library 044B – Phyllis Klotman Room Akin Adesokan (Moderator, Indiana University) Rachel Gabara (University of Georgia) Samba Gadjigo (Mount Holyoke College) Sada Niang (University of Victoria) 5-7 PM Screenings Wells Library 048 • Afrique sur Seine (J.M. Kane, M. Sarr, Vieyra, 1955, 21min) • Une nation est née [A Nation is Born] (Vieyra, 1961, 25min) • Lamb (Vieyra, 1963, 18min) • Môl (Vieyra, 1966, 27min) • L’envers Du Décor [Behind the Scenes] (Vieyra, 1981, 16min) 26 Friday, September 6th 8:30 A M Coffee and snacks Black Film Center/Archive 9-10:30 AM Vieyra, Post-Colonial Intellectual Wells Library 044B – Phyllis Klotman Room Michael Martin (Moderator, Indiana University) Maguèye Kasse (Université Cheikh Anta Diop) Amadou Ouédraogo (University of Louisiana at Lafayette) Catherine Ruelle (Independent scholar) 11-1 PM Screening Wells Library 048 • En résidence surveillée [Under House Arrest] (Vieyra, 1981, 102min) 2:15-4 PM Vieyra, Historian and Producer Wells Library 044B – Phyllis Klotman Room Marissa Moorman (Moderator, Indiana University) Vincent Bouchard (Indiana University) Rachel Gabara (University of Georgia) Elena Razlogova (Concordia University) 4:30-7 PM Screening Wells Library 048 • L'envers du décor [Behind the Scenes] (P.S.
    [Show full text]
  • A2696-A5-001-Jpeg.Pdf
    THE CLASSIC QUARTERLY, VOLUME TWO, NUMBER TWO. 1966 . PRICE 35 CENTS FlUsSSCII AFlUlkXSS WIUTIS6I; THE CLASSIC VOLUME TWO, NUMBER TWO, 1966 EDITOR: Barney Simon. TRUSTEES AND EDITORIAL ADVISERS: Ian Bernhardt, Nimrod Mkele, Nadine Gordimer, Philip Stein, Dorothy Blair, Barney Simon. THE CLASSIC IS PUBLISHED BY THE CLASSIC MAGAZINE TRUST FUND, P.O. BOX 23643, JOUBERT PARK, JOHANNESBURG. The Trust is financed mainly by Farfield Foundation, Inc., New York. Price in South Africa; 35c. Subscriptions: South Africa (four issues), R1.50; United Kingdom and Europe, 16/6; United States, $3. Writers are invited to send their manuscripts to the Editor, The Classic, P.O. Box 23643, Joubert Park, Johannesburg. Printed for the Proprietors, The Classic Trust Fund, by Excelsior Printers (Pty.) Limited. ACKNOWLEDGEMENTS Works which have already appeared elsewhere are reprinted here in English translation with the following acknowledgements: To Fasquelle Editeurs (Paris) for Sarzan by Birago Diop. To Presence Africaine for Vanite by Birago Diop. To Oxford University Press for John Reed and Clive Wake’s translation of Senghor’s Nuit de Sine. To Edition Seghers for Je vous remercie mon Dieu by Bernard Dadie. To Oxford University Press (An Anthology of African and Malagasy Poetry in French, ed.: Clive Wake) for Un Jour, tu apprendras by Francis Debey. To Driss Chra'ibi for Quatre Malles. To Edition Caracteres for A Travers temps et fleuves by Tchicaya U Tam’si. ^iiifiuiiiiiiniiiiiiiiiiiiiiiiiiiiiiiiiiiiiiniiiiiiiiiiimiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiinimminiiiiiiimiiiiiiii|| I THE WORLD OF NAT NAKASA | I ^ 1 Copies are still available (40 cents, postage paid) of f § Classic, Vol. 2, No. I. ‘ The World of Nat Nakasa,’ con- 1 S taining the best of his brilliant ‘ Rand Daily Mail ’ essays H 1 and comments by William Plomer, Nadine Gordimer and 1 1 Athol Fugard.
    [Show full text]
  • 88Th Annual Academy Awards® Oscar® Nominations Fact
    88TH ANNUAL ACADEMY AWARDS® OSCAR® NOMINATIONS FACT SHEET Best Motion Picture of the Year: The Big Short (Paramount Pictures) [Produced by Brad Pitt, Dede Gardner and Jeremy Kleiner.] - This is the sixth nomination and the third in this category for Brad Pitt, who won for 12 Years a Slave (2013). His other Best Picture nomination was for Moneyball (2011). He received Acting nominations for his supporting role in 12 Monkeys (1995) and his leading roles in The Curious Case of Benjamin Button (2008) and Moneyball. This is the fourth nomination for Dede Gardner, who won for 12 Years a Slave (2013). Her other Best Picture nominations were for The Tree of Life (2011) and Selma (2014). This is the third nomination for Jeremy Kleiner, who won for 12 Years a Slave (2013) and was nominated last year for Selma. Bridge of Spies (Walt Disney and 20th Century Fox) [Produced by Steven Spielberg, Marc Platt and Kristie Macosko Krieger.] - This is the ninth nomination in this category for Steven Spielberg, who won the award in 1993 for Schindler's List. His other Best Picture nominations were for E.T. The Extra-Terrestrial (1982), The Color Purple (1985), Saving Private Ryan (1998), Munich (2005), Letters from Iwo Jima (2006), War Horse (2011) and Lincoln (2012). He has seven Directing nominations, for Close Encounters of the Third Kind (1977), Raiders of the Lost Ark (1981), E.T. The Extra-Terrestrial, Schindler's List, Saving Private Ryan, Munich and Lincoln. He won Oscars for Schindler's List and Saving Private Ryan. He also received the Irving G.
    [Show full text]