Hier Spricht Orson Welles

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Orson Welles und Peter Bogdanovich Hier spricht Orson Welles Aus dem Amerikanischen von Heide Sommer und Oivin Ziemer BEUZ Quadriga Inhalt DANKSAGUNGEN 8 ZUR DEUTSCHEN AUSGABE 9 VORWORT von JONATHAN ROSENBAUM 11 EINLEITUNG „Ein hübsches kleines Buch" von PETER BOGDANOVICH 19 1. ROM Theater • Moby Dick - Rehearsed • Rundfunkauftritte • D. W. Griffith • Hollywood • John Barrymore • The Green Goddess • John Ford • Heart of Darkness • The Smiler with a Knife • Too much Johnson • Hearts of Age • Stierkampf • Irland 49 2. GUAYMAS Citizen Kane • Hearst • Preston Sturges • Herman J. Mankiewicz • Musik • Tiefenschärfe • Gregg Toland • „Ceilings" und Kamerapositionen • Eltern • Dr. Bernstein • Roger Hill • Make-up • The March of Time • Farbe contra Schwarz-weiß • Uraufführung von Kane • Oscars • Grand Detour 113 6 HIER SPRICHT ORSON WELLES 3. NEW YORK The Magnificient Ambersons • Tarkington und Twain • Don Quixote • The Deep • Chimes at Midnight • Black Magic • Greta Garbo • Cyrano de Bergerac • Alexander Korda • Russische Dichter • Around the World in 80 Days 182 4. VAN NU YS Charlie Chaplin • Monsieur Verdoux • Greta Garbo • W. C. Fields • Frank Capra • Federico Fellini «Jean-Luc Godard • Zensierte Äußerungen • Kenji Mizoguchi • Vittorio de Sica • Regiearbeit «James Cagney • Eisenstein und Iwan der Schreckliche • Carl Dreyer • Harry d'Arrast • Cecil B. De Mille • Sternberg und Stroheim • It's All True • Robert Flaherty • Der Verkauf der RKO • Journey into Fear • Uber das Filmesehen 236 5. BEVERLY HILLS The Other Side of the Wind • The Stranger • Jane Eyre • The Mercury Wonder Show • Zauberkünste • Follow the Boys • Tomorrow Is Forever • FDR • Duel in the Sun • The Lady from Shanghai • Memo an Harry Cohn • Kamera-Standpunkte • Jacques Tati • Dummköpfe, Katzen, Martyrium 288 6. HOLLYWOOD Macbeth in dreiundzwanzig Tagen • Shakespeare »Jean Renoir • Kinopublikum • Kritiken: Europa contra Amerika • The Third Man • David O. Selznick • Othello • Mr. Arkadin 333 INHALT 7 7. PARIS The Trial • Motivsuche • Chimes at Midnight • The Immortal Story • Isak Dinesen • Film schneiden • Film lehren • Die Perspektive des Spiegels • Rollen spielen des Geldes wegen • Treasure Island • Pier Paolo Pasolini • Jiddisches Theater • Träume 387 8. CAREFREE The Fountain of Youth • Andere TV-Pilotprojekte • „Twilight in the Smog" • Uber den Adel • Compulsion • Touch of Evil • Julius Caesar • Howard Hughes • Mit Schauspielern arbeiten • Drogen • Marlene Dietrich • Arbeiten in Amerika 451 9. DIE KARRIERE DES ORSON WELLES Eine Chronologie 501 ANMERKUNGEN 591 REGISTER 619 FILMOGRAPHIE 629 BILDVERMERKE 636 .

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The Lady from Shanghai
A N I L L U M I N E D I L L U S I O N S E S S A Y B Y I A N C . B L O O M TTHHEE LLAADDYY FFRROOMM SSHHAANNGGHHAAII Directed by Orson Welles Produced by Orson Welles Distributed by Columbia Pictures Released in 1948 ured by the attractive wife (Rita Hayworth) of a crooked crippled lawyer (Everett Sloane) to L serve on board their yacht after he had saved her from an assault, Michael O'Hara finds himself caught in a high-stakes game of fools. And he is the key player. Fighting his desires every step of the way, Michael (Orson Welles) is maneuvered into accepting a position for the long journey to San Francisco. By all evidence their initial meeting was by chance, Michael loping along, Elsa sitting pretty in her horse-drawn carriage. The assault by the three dopey mugs could have been staged to further draw Michael in. But this is pure speculation (and would take some very quick thinking on her part). Soon we learn that Michael is a sailor, a veteran of the anti-Franco Communist forces, and he killed a man in Spain, back in '39. Her past is more obscure, but we can ascertain that Elsa was a high-class prostitute in China, where she was born to White Russian parents. They get along well, she coy, he feeling heroic, but then she lets on that she is married. This freezes Michael. He doesn't want trouble, and though he admits in voice-over that he is terrible at smelling danger, he can see it.
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The Museum of Modern Art For Immediate Release February 1994 JEANNE MOREAU: NOUVELLE VAGUE AND BEYOND February 25 - March 18, 1994 A film retrospective of the legendary French actress Jeanne Moreau, spanning her remarkable forty-five year career, opens at The Museum of Modern Art on February 25, 1994. JEANNE MOREAU: NOUVELLE VAGUE AND BEYOND traces the actress's steady rise from the French cinema of the 1950s and international renown as muse and icon of the New Wave movement to the present. On view through March 18, the exhibition shows Moreau to be one of the few performing artists who both epitomize and transcend their eras by the originality of their work. The retrospective comprises thirty films, including three that Moreau directed. Two films in the series are United States premieres: The Old Woman Mho Wades in the Sea (1991, Laurent Heynemann), and her most recent film, A Foreign Field (1993, Charles Sturridge), in which Moreau stars with Lauren Bacall and Alec Guinness. Other highlights include The Queen Margot (1953, Jean Dreville), which has not been shown in the United States since its original release; the uncut version of Eva (1962, Joseph Losey); the rarely seen Mata Hari, Agent H 21 (1964, Jean-Louis Richard), and Joanna Francesa (1973, Carlos Diegues). Alternately playful, seductive, or somber, Moreau brought something truly modern to the screen -- a compelling but ultimately elusive persona. After perfecting her craft as a principal member of the Comedie Frangaise and the Theatre National Populaire, she appeared in such films as Louis Malle's Elevator to the Gallows (1957) and The Lovers (1958), the latter of which she created a scandal with her portrayal of an adultress.
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ORSON WELLES (En El Centenario De Su Nacimiento) 2 Proyector “Marín” De 35Mm (Ca.1970)
cineclub universitario/aula de cine centro de cultura contemporánea - vicerrectorado de extensión universitaria Universidad de Granada P r o g r a m a c i ó n d e octubre 2 0 1 5 MAESTROS DEL CINE CLÁSICO (VIII): ORSON WELLES (en el centenario de su nacimiento) 2 Proyector “Marín” de 35mm (ca.1970). Cineclub Universitario Foto: Jacar [indiscreetlens.blogspot.com] (2015). El CINECLUB UNIVERSITARIO se crea en 1949 con el nombre de “Cineclub de Granada”. Será en 1953 cuando pase a llamarse con su actual denominación. Así pues en este curso 2015-2016 cumplimos 62 (66) años. 2 OCTUBRE 2015 MAESTROS DEL CINE CLÁSICO (VIII): ORSON WELLES (en el centenario de su nacimiento) OCTOBER 2015 MASTERS OF CLASSIC CINEMA (VIII): ORSON WELLES (100 years since his birth) Martes 20 / Tuesday 20th • 21 h. EL EXTRAÑO (1946) ( THE STRANGER) v.o.s.e. / OV film with Spanish subtitles Viernes 23 / Friday 23th • 21 h. SED DE MAL (1958) ( TOUCH OF EVIL ) v.o.s.e. / OV film with Spanish subtitles Martes 27 / Tuesday 27th • 21 h. CAMPANADAS A MEDIANOCHE (1965) ( CHIMES AT MIDNIGHT / CAMPANADAS A MEDIANOCHE ) v.o.s.e. / OV film with Spanish subtitles Viernes 30 / Friday 30th • 21 h. FRAUDE (1973) ( FAKE / QUESTION MARK / VÉRITÉS ET MENSONGES) v.o.s.e. / OV film with Spanish subtitles Todas las proyecciones en el Aula Magna de la Facultad de Ciencias. All projections at the Assembly Hall in the Science College. Seminario “CAUTIVOS DEL CINE” Miércoles 21 octubre / 17 h. EL CINE DE ORSON WELLES Gabinete de Teatro & Cine del Palacio de la Madraza Entrada libre (hasta completar aforo) 3 4 “No creo que en el futuro se me recuerde.
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A Social History Since 1450. the Story of Orson
at least as Ackroyd tells it. Yet Ackroyd illustrated volume takes the next step, which does do many things right. One is to set is to give historical context to our under- forth the terms and trying conditions of standing of ornamental hierarchies and of Blake’s great project without explaining the rules shaping ornament’s private and away (or worse, psychologizing) his vision- public uses. Today’s postmodern designers ary genius. Such tact, though leaving us like to think they are beyond such consider- eager for more answers, turns us toward ations, but, as the authors wisely point out, the only reliable source—the works of the “If rules are broken, then people choose to artist himself. do that consciously; the very process of —Jay Tolson breaking rules emphasizes the fact that nor- mally they are there.” ORNAMENT: —Martha Bayles A Social History since 1450. By Michael Snodin and Maurice ROSEBUD: Howard. Yale Univ. Press and the The Story of Orson Welles. Victoria and Albert Museum. By David Thomson. Knopf. 448 pp. $30 232 pp. $45 Forget the aging, obese Orson Welles, Upper-class English ladies have never who promised to “sell no wine before its worn tattoos. Or have they? In 1901, Lady time” on television in the 1970s and ’80s. Randolph Churchill celebrated the corona- This biography begins with the golden, tion of Edward VII by having a tiny serpent whirling days of Welles’s early career, when tattooed on her forearm. Tattoos were all the the handsome boy out of Kenosha, rage at the time. By 1920 the traditional prej- Wisconsin, had boundless creative vitality— udice against tattooing had returned, and and the power to charm anyone, in the the- Lady Churchill was never seen in public ater or out.
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E-Romanticism Studies
e-romantikstudier e-romanticism studies Nr. 3, 2016 e-romantikstudier / e-romanticism studies Copyright © forfatteren / the author ISSN: 2445-7868 Redaktører / Editors: Karina Lykke Grand ([email protected]) Lis Møller ([email protected]) Adresse / Address: Nordisk Selskab for Romantikstudier / Nordic Association for Romantic Studies (NARS) Langelandsgade 139 DK-8000 Aarhus C e-romantikstudier / e-romanticism studies accepterer bidrag på skandinaviske sprog samt engelsk, tysk og fransk. Alle bidrag underkastes fagfællebedømmelse. e-romantikstudier / e-romanticism studies accepts contributions in Scandinavian languages as well as English, German, and French. All contributions are subject to peer review. 2 Matti Jatkola, Sverigefinska Folkhögskola Svefi In Paradise You Are not Alone: the Romantic Subject of Jacques-Henri Bernardin de Saint-Pierre and Karen Blixen 3 In Paradise You Are not Alone: the Romantic Subject of Jacques-Henri Bernardin de Saint-Pierre and Karen Blixen Nobody knows about my man. They think he's lost on some horizon. Kate Bush, ‘The Man with the Child in his Eyes’, 1978 In this article, I will examine romantic representations of the subject in Jacques-Henri Bernardin de Saint-Pierre’s novel Paul et Virginie (1788) and in Karen Blixen’s short story ‘The Immortal Story’(1958). Literary intertexts from the period of romanticism and after – Maria Edgeworth’s Belinda (1801), Charlotte Brontë’s Villette (1853), and William Hurrell Mallock’s The New Paul and Virginia (1878), and a much later novel Perillisen ominaisuudet (1963) by the Finnish author Pentti Holappa – will also be discussed. The starting point for my discussion of the intertextual recurrence of literary characters is Bernardin de Saint-Pierre’s highly successful novel Paul et Virginie.1 In the course of the nineteenth century, Paul and Virginie, the eponymous main couple of Bernardin’s novel, became a synonym for the romantic success stories avidly consumed by the reading public.
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October 18, 2016 (XXXIII:8) Orson Welles: CHIMES AT MIDNIGHT (1965), 115 min. Directed by Orson Welles Written by William Shakespeare (plays), Raphael Holinshed (book), Orson Welles (screenplay) Produced by Ángel Escolano, Emiliano Piedra, Harry Saltzman Music Angelo Francesco Lavagnino Cinematography Edmond Richard Film Editing Elena Jaumandreu , Frederick Muller, Peter Parasheles Production Design Mariano Erdoiza Set Decoration José Antonio de la Guerra Costume Design Orson Welles Cast Orson Welles…Falstaff Jeanne Moreau…Doll Tearsheet Worlds" panicked thousands of listeners. His made his Margaret Rutherford…Mistress Quickly first film Citizen Kane (1941), which tops nearly all lists John Gielgud ... Henry IV of the world's greatest films, when he was only 25. Marina Vlady ... Kate Percy Despite his reputation as an actor and master filmmaker, Walter Chiari ... Mr. Silence he maintained his memberships in the International Michael Aldridge ...Pistol Brotherhood of Magicians and the Society of American Tony Beckley ... Ned Poins and regularly practiced sleight-of-hand magic in case his Jeremy Rowe ... Prince John career came to an abrupt end. Welles occasionally Alan Webb ... Shallow performed at the annual conventions of each organization, Fernando Rey ... Worcester and was considered by fellow magicians to be extremely Keith Baxter...Prince Hal accomplished. Laurence Olivier had wanted to cast him as Norman Rodway ... Henry 'Hotspur' Percy Buckingham in Richard III (1955), his film of William José Nieto ... Northumberland Shakespeare's play "Richard III", but gave the role to Andrew Faulds ... Westmoreland Ralph Richardson, his oldest friend, because Richardson Patrick Bedford ... Bardolph (as Paddy Bedford) wanted it. In his autobiography, Olivier says he wishes he Beatrice Welles ..
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Indexes Films
Indexes Films Act of Seeing with One's Own Eyes, Best Years of Our Lives, The (William The (Stan Brakhage, USA, 1973) Wyler, USA, 1946) 43 154 Bicycle Thieves (Ladri di biciclette) Actor's Revenge, An (Yukinojo henge) (Vittorio de Sica, Italy, 1948) 45 (Ichikawa Kon,Japan, 1963) 134 Big Sleep, The (Howard Hawks, USA, After Lumiere: L 'Arroseur arrose 1946) 44 (Malcolm Le Grice, GB, 1974) 186 Birds, The (Alfred Hitchcock, USA, After Manet, After Giorgione, Le 1963) 97 Dejeuner sur l'herbe, or, Fete Birth of a Nation, The (D. W. Griffith, champetre (Malcolm Le Grice, GB, USA, 1915) 96 1975) 170 Blackbird Descending (Tense Alien (Ridley Scott, GB, 1979) Alignment) (Malcolm Le Grice, 185-6 GB, 1977) 170 All My Life (Bruce Baillie, USA, 1966) 167 Carabiniers, Les 0.-L. Godard, France/ Arrivee d'un train en gare de La Italy, 1963) 4 Ciotat, L' (Louis Lumihe, France, Citizen Kane (Orson Welles, USA, 1895) 12, 26, 38 1941) 43, 125 Arroseur arrose, L' (Louis Lurniere, City Girl (F. W. Murnau, USA, 1929) France, 1895) 4, 186 142 Assassin musicien, L' (Benoit Jacquot, Coma (Michael Crichton, USA, 1977) France, 1975) 109, 151, 162 189-90 Condition of Illusion (Peter Gidal, At the Circus (Edward Buzzell, USA, GB, 1975) 168-74passim 1939) 215 C/0/N/S/T/R/U/C/T (Peter Gidal, Au hasard, Balthazar (Robert Bresson, GB, 1974) 172 France/Sweden, 1966) 91, 100 Couch (Andy Warhol, USA, 1964) Autumn Afternoon, An (Samma no 166 aji) (Ozu Yasujiro,Japan, 1962) 61 Death by Hanging (Koshikei) (Oshima Nagisa, France/Japan, 1976) Back and Forth (f----7) (Michael 65-9,150 Snow, Canada, 1969) 170 Debarquement des congressistes, Le Badlands (Terrence Malick, USA, 1973) (Louis Lurnihe, France, 1895) 55 12,38 248 Index of Films Deux ou trois chases que je sais Killer's Kiss (Stanley Kubrick, USA, d'elle 0.-L.
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An Educational Guide Filled with Youthful Bravado, Welles Is a Genius Who Is in Love with and Welles Began His Short-Lived Reign Over the World of Film
Welcome to StageDirect Continued from cover Woollcott and Thornton Wilder. He later became associated with StageDirect is dedicated to capturing top-quality live performance It’s now 1942 and the 27 year old Orson Welles is in Rio de Janeiro John Houseman, and together, they took New York theater by (primarily contemporary theater) on digital video. We know that there is on behalf of the State Department, making a goodwill film for the storm with their work for the Federal Theatre Project. In 1937 their tremendous work going on every day in small theaters all over the world. war effort. Still struggling to satisfy RKO with a final edit, Welles is production of The Cradle Will Rock led to controversy and they were This is entertainment that challenges, provokes, takes risks, explodes forced to entrust Ambersons to his editor, Robert Wise, and oversee fired. Soon after Houseman and Welles founded the Mercury Theater. conventions - because the actors, writers, and stage companies are not its completion from afar. The company soon made the leap from stage to radio. slaves to the Hollywood/Broadway formula machine. These productions It’s a hot, loud night in Rio as Orson Welles (actor: Marcus In 1938, the Mercury Theater’s War of the Worlds made appear for a few weeks, usually with little marketing, then they disappear. Wolland) settles in to relate to us his ‘memoir,’ summarizing the broadcast history when thousands of listeners mistakenly believed Unless you’re a real fanatic, you’ll miss even the top performances in your early years of his career in theater and radio.
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George P. Johnson Negro Film Collection LSC.1042
http://oac.cdlib.org/findaid/ark:/13030/tf5s2006kz No online items George P. Johnson Negro Film Collection LSC.1042 Finding aid prepared by Hilda Bohem; machine-readable finding aid created by Caroline Cubé UCLA Library Special Collections Online finding aid last updated on 2020 November 2. Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: https://www.library.ucla.edu/special-collections George P. Johnson Negro Film LSC.1042 1 Collection LSC.1042 Contributing Institution: UCLA Library Special Collections Title: George P. Johnson Negro Film collection Identifier/Call Number: LSC.1042 Physical Description: 35.5 Linear Feet(71 boxes) Date (inclusive): 1916-1977 Abstract: George Perry Johnson (1885-1977) was a writer, producer, and distributor for the Lincoln Motion Picture Company (1916-23). After the company closed, he established and ran the Pacific Coast News Bureau for the dissemination of Negro news of national importance (1923-27). He started the Negro in film collection about the time he started working for Lincoln. The collection consists of newspaper clippings, photographs, publicity material, posters, correspondence, and business records related to early Black film companies, Black films, films with Black casts, and Black musicians, sports figures and entertainers. Stored off-site. All requests to access special collections material must be made in advance using the request button located on this page. Language of Material: English . Conditions Governing Access Open for research. All requests to access special collections materials must be made in advance using the request button located on this page. Portions of this collection are available on microfilm (12 reels) in UCLA Library Special Collections.
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American Film Institute Life Achievement Dinner, Los Angeles, California” of the Frances K
The original documents are located in Box 1, folder “1976/03/09 - American Film Institute Life Achievement Dinner, Los Angeles, California” of the Frances K. Pullen Papers at the Gerald R. Ford Presidential Library. Copyright Notice The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Gerald Ford donated to the United States of America his copyrights in all of his unpublished writings in National Archives collections. Works prepared by U.S. Government employees as part of their official duties are in the public domain. The copyrights to materials written by other individuals or organizations are presumed to remain with them. If you think any of the information displayed in the PDF is subject to a valid copyright claim, please contact the Gerald R. Ford Presidential Library. Scanned from Box 1 of the Frances K. Pullen Files at the Gerald R. Ford Presidential Library AMERICAN FILM INSTITUTE DINNER NRS. FORD'S REMARKS MARCH 9, 1976 When I was a girl going to high school, I never dreamed of growing up and being married to a President. But my dream of a lifetime was going to Hollywood and gliding across a polished floor with Fred Astaire. So you see how fortunate I feel to be here tonight. Because of the: magic of the movies, I've danced and laughed and cried my way through several lifetimes. And it's a special treat to join this salute to William Wyler--one of the wizards of the business • .. Like millions of people, the President and I love the movies.
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CITIZEN KANE Assignment
INTRODUCTION TO FILM CITIZEN KANE NAME PERIOD _____________ BASED ON INFORMATION FROM THE TEXT: 1. WHO IS CREDITED WITH PRODUCING THE FILM, CITIZEN KANE? 2. WHAT YEAR WAS THE FILM, CITIZEN KANE, RELEASED? 3. WHO WAS RESPONSIBLE FOR THE OMINOUS MUSIC SCORE FOR THE FILM, CITIZEN KANE? 4. WHAT WAS THE NAME OF KANE’S ESTATE? 5. WHAT DOES KANE WHISPER AS THE GLASS BUBBLE BURSTS? 6. WHAT IS THE NAME OF THE BLARING NEWSREEL? 7. WITH WHAT COMPANY DID ORSON WELLES ACT AND DIRECT? 8. IN WHICH COMPANY WAS HE A FOUNDER? 9. WHAT STORY DID ORSON WELLES USE FOR A RADIO DRAMA? 10. THIS RADIO BROADCAST WAS SO REALISTIC THAT ? 11. WHAT AWARD DID ORSON WELLES RECEIVE IN 1975? 12. OF WHAT NEWSPAPER DID WILLIAM RANDOLPH HEARST FIRST BECOME PROPRIETOR? 13. IN 1903, WHO DID WILLIAM RANDOLPH HEARST MARRY? 14. WHO WAS A JOURNALISTIC INSPIRATION TO WILLIAM RANDOLPH HEARST? 15. WHERE DID HEARST BUILD HIS CASTLE? 16. WHAT DID HEARST DO TO UPSET THE LEFT WING IN AMERICA? 17. WITH WHAT IS HEARST’S NAME SYNONYMOUS? 18. WHAT WAS HEARST’S RESPONSE TO ILLUSTRATOR FREDERIC REMINGTON IN HAVANA? 19. WHO WAS HEARST’S GREATEST LOVE? 20. WHO DIED ABOARD WILLIAM RANDOLPH HEARST’S YACHT? 21. WHO WAS HEARST INTENDING TO SHOOT? 22. WHO MADE A DEAL WITH HEARST AND WAS SWORN TO SECRECY CONCERNING THE INCIDENT? 23. WHAT DID GOSSIP COLUMNIST HEDDA HOPPER SAY ABOUT THE MOVIE, CITIZEN KANE? 24. WHO MAY HAVE HAD A HAND IN THE SHOOTING? 25. HOW DID THIS WOMAN MYSTERIOUSLY DIE? NO TRESPASSING That tarnished sign on a forbidding black wire fence is the first thing we see in Orson Welles' Citizen Kane, the rather formidable beginning of an opening sequence that's still as electrifying as any in the history of movies.
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Scan D Inavistica Viln Ensis 3
IS SCAN S D N 3 I N E A N V L I I S V T I A C Centre of Scandinavian Studies Faculty of Philology Vilnius University Ieva Steponavi)i*t+ Texts at Play Te Ludic Aspect of Karen Blixen’s Writings Vilnius University 2011 UDK / UDC 821.113.4(092) St-171 Te production of this book was funded by a grant (No MOK-23/2010) from the Research Council of Lithuania. Reviewed by Charlote Engberg, Associate Professor, Lic Phil (Roskilde University, Denmark) Jørgen Stender Clausen, Professor Emeritus (University of Pisa, Italy) Editorial board for the Scandinavistica Vilnensis series Dr Habil Jurij K. Kusmenko (Institute for Linguistic Studies under the Russian Academy of Sciences, Saint Petersburg / Humboldt University, Germany) Dr Phil Anatoly Liberman (University of Minnesota, USA) Dr Ērika Sausverde (Vilnius University) Dr Ieva Steponavičiūtė-Aleksiejūnienė (Vilnius University) Dr Aurelijus Vijūnas (National Kaohsiung Normal University, Taiwan) Approved for publishing at the meeting of the Council of the Faculty of Philology of Vilnius University (17 06 2011, record No 7) Designer Tomas Mrazauskas © Ieva Steponavičiūtė, 2011 © Vilnius University, 2011 ISSN 2029-2112 ISBN 978-9955-634-80-5 Vilnius University, Universiteto g. 3, LT-01513 Vilnius Tel. +370 5 268 7260 · www.leidykla.eu Centre of Scandinavian Studies · Faculty of Philology · Vilnius University Universiteto g. 5, LT-01513 Vilnius Tel. +370 5 268 7235 · www.skandinavistika.ff.vu.lt To my family Much is demanded of those who are to be really profcient at play. Courage and imagination, humor and intelligence, but in particular that blend of unselfshness, generosity, self-control and courtesy that is called gentilezza.
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