Joel Stern Thesis
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Beckett & Aesthetics
09/25/21 Beckett & Aesthetics | Goldsmiths, University of London Beckett & Aesthetics View Online 1. Beckett, S.: Watt. John Calder, London (1963). 2. Connor, S.: ‘Shifting Ground: Beckett and Nauman’, http://www.stevenconnor.com/beckettnauman/. 3. Tubridy, D.: ‘Beckett’s Spectral Silence: Breath and the Sublime’. 1, 102–122 (2010). 4. Lyotard, J.F., Bennington, G., Bowlby, R.: ‘After the Sublime, the State of Aesthetics’. In: The inhuman: reflections on time. Polity, Cambridge (1991). 5. Lyotard, J.-F.: The Sublime and the Avant-Garde. In: The inhuman: reflections on time. pp. 89–107. Polity, Cambridge (1991). 6. Krauss, R.: LeWitt’s Ark. October. 121, 111–113 (2007). https://doi.org/10.1162/octo.2007.121.1.111. 1/4 09/25/21 Beckett & Aesthetics | Goldsmiths, University of London 7. Simon Critchley: Who Speaks in the Work of Samuel Beckett? Yale French Studies. 114–130 (1998). 8. Kathryn Chiong: Nauman’s Beckett Walk. October. 86, 63–81 (1998). 9. Deleuze, G.: ‘He Stuttered’. In: Essays critical and clinical. pp. 107–114. Minnesota University Press, Minneapolis (1997). 10. Deleuze, G., Smith, D.W.: ‘The Greatest Irish Film (Beckett’s ‘Film’)’. In: Essays critical and clinical. pp. 23–26. Minnesota University Press, Minneapolis (1997). 11. Adorno, T.: ‘Trying to Understand Endgame’. In: Samuel Beckett. pp. 39–49. Longman, New York (1999). 12. Laws, C.: ‘Morton Feldman’s Neither: A Musical Translation of Beckett’s Text'. In: Samuel Beckett and music. pp. 57–85. Clarendon Press, Oxford (1998). 13. Cage, J.: ‘The Future of Music: Credo’. In: Audio culture: readings in modern music. pp. 25–28. -
Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum
Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum Rivette: Texts and Interviews (editor, 1977) Orson Welles: A Critical View, by André Bazin (editor and translator, 1978) Moving Places: A Life in the Movies (1980) Film: The Front Line 1983 (1983) Midnight Movies (with J. Hoberman, 1983) Greed (1991) This Is Orson Welles, by Orson Welles and Peter Bogdanovich (editor, 1992) Placing Movies: The Practice of Film Criticism (1995) Movies as Politics (1997) Another Kind of Independence: Joe Dante and the Roger Corman Class of 1970 (coedited with Bill Krohn, 1999) Dead Man (2000) Movie Wars: How Hollywood and the Media Limit What Films We Can See (2000) Abbas Kiarostami (with Mehrmax Saeed-Vafa, 2003) Movie Mutations: The Changing Face of World Cinephilia (coedited with Adrian Martin, 2003) Essential Cinema: On the Necessity of Film Canons (2004) Discovering Orson Welles (2007) The Unquiet American: Trangressive Comedies from the U.S. (2009) Goodbye Cinema, Hello Cinephilia Film Culture in Transition Jonathan Rosenbaum the university of chicago press | chicago and london Jonathan Rosenbaum wrote for many periodicals (including the Village Voice, Sight and Sound, Film Quarterly, and Film Comment) before becoming principal fi lm critic for the Chicago Reader in 1987. Since his retirement from that position in March 2008, he has maintained his own Web site and continued to write for both print and online publications. His many books include four major collections of essays: Placing Movies (California 1995), Movies as Politics (California 1997), Movie Wars (a cappella 2000), and Essential Cinema (Johns Hopkins 2004). The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2010 by The University of Chicago All rights reserved. -
Image and Intuition in Beckett's Film
90 Anthony Uhlmann Image and Intuition in Beckett’s Film Anthony Uhlmann Working from a detailed diary Beckett wrote of his thoughts on painting while travelling through Germany and visiting art galleries before World War II, and directed by comments made by Beckett himself, James Knowlson has convincingly displayed how Beckett used images from paintings that had had a forceful impression on him, reconfiguring them in developing his own striking images in later works (256-258).1 Might the same be claimed for Beckett’s use of philosophy? In a 1933 letter to Thomas MacGreevy, Beckett identifies an interest in philosophical images even if divorced from the systems in which they are used: “Leibniz a great cod, but full of splendid little pictures.” Beckett discusses the “image” a number of times in Disjecta (28, 90, 94, 123, 130), and Gilles Deleuze sees the use of the image as key in coming to terms with Beckett’s works.2 As is well known, Deleuze develops a reading of Henri Bergson, especially Matter and Memory, in developing his own concept of the image in the Cinema books,3 and as I will attempt to establish below, Beckett knew Bergson’s work well and drew upon it in developing his own ideas about the image and its relationship to thought. The Legacy of Bergson In Matter and Memory Bergson draws heavily upon the concept of “the image,” a term with a long history in philosophy tying it to inadequate modes of understanding.4 Yet rather than “the image” being a secondary category, linked to the inferior kinds of understanding derived from the testimony of the senses, the image, in Bergson’s system, is given a much more prominent place. -
UNIVERSITY of LONDON THESIS This Thesis Comes Within Category D
REFERENCE ONLY UNIVERSITY OF LONDON THESIS Degree Year T o o ^ NameofAuthor •% C O P Y R IG H T This is a thesis accepted for a Higher Degree of the University of London. It is an unpublished typescript and the copyright is held by the author. All persons consulting the thesis must read and abide by the Copyright Declaration below. COPYRIGHT DECLARATION I recognise that the copyright of the above-described thesis rests with the author and that no quotation from it or information derived from it may be published without the prior written consent of the author. LOANS Theses may not be lent to individuals, but the Senate House Library may lend a copy to approved libraries within the United Kingdom, for consultation solely on the premises of those libraries. Application should be made to: Inter-Library Loans, Senate House Library, Senate House, Malet Street, London WC1E 7HU. REPRODUCTION University of London theses may not be reproduced without explicit written permission from the Senate House Library. Enquiries should be addressed to the Theses Section of the Library. Regulations concerning reproduction vary according to the date of acceptance of the thesis and are listed below as guidelines. A. Before 1962. Permission granted only upon the prior written consent of the author. (The Senate House Library will provide addresses where possible). B. 1962- 1974. In many cases the author has agreed to permit copying upon completion of a Copyright Declaration. C. 1975 - 1988. Most theses may be copied upon completion of a Copyright Declaration. D. 1989 onwards. Most theses may be copied. -
Anthology Film Archives 104
242. Sweet Potato PieCl 384. Jerusalem - Hadassah Hospital #2 243. Jakob Kohn on eaver-Leary 385. Jerusalem - Old Peoples Workshop, Golstein Village THE 244. After the Bar with Tony and Michael #1 386. Jerusalem - Damascus Gate & Old City 245. After the Bar with Tony and Michael #2 387. Jerusalem -Songs of the Yeshiva, Rabbi Frank 246. Chiropractor 388. Jerusalem -Tomb of Mary, Holy Sepulchre, Sations of Cross 247. Tosun Bayrak's Dinner and Wake 389. Jerusalem - Drive to Prison 248. Ellen's Apartment #1 390. Jerusalem - Briss 249. Ellen's Apartment #2 391 . European Video Resources 250. Ellen's Apartment #3 392. Jack Moore in Amsterdam 251, Tuli's Montreal Revolt 393. Tajiri in Baarlo, Holland ; Algol, Brussels VIDEOFIiEEX Brussels MEDIABUS " LANESVILLE TV 252. Asian Americans My Lai Demonstration 394. Video Chain, 253. CBS - Cleaver Tapes 395. NKTV Vision Hoppy 254. Rhinoceros and Bugs Bunny 396. 'Gay Liberation Front - London 255. Wall-Gazing 397. Putting in an Eeel Run & A Social Gathering 256. The Actress -Sandi Smith 398. Don't Throw Yer Cans in the Road Skip Blumberg 257. Tai Chi with George 399. Bart's Cowboy Show 258. Coke Recycling and Sheepshead Bay 400. Lanesville Overview #1 259. Miami Drive - Draft Counsel #1 401 . Freex-German TV - Valeska, Albert, Constanza Nancy Cain 260. Draft Counsel #2 402, Soup in Cup 261 . Late Nite Show - Mother #1 403. Lanesville TV - Easter Bunny David Cort 262. Mother #2 404. LanesvilleOverview #2 263. Lenneke and Alan Singing 405. Laser Games 264. LennekeandAlan intheShower 406. Coyote Chuck -WestbethMeeting -That's notRight Bart Friedman 265. -
Regard Et Prédation Dans Film De Samuel Beckett De La Fable À La Structure Llewellyn Brown
Document generated on 10/02/2021 3:45 a.m. Études françaises Regard et prédation dans Film de Samuel Beckett De la fable à la structure Llewellyn Brown Le regard et la proie Article abstract Volume 54, Number 2, 2018 If the problematic of the gaze is capital in Beckett’s work, it is in his only film – with its rhematic title – that it becomes the thrust of a pursuit. In discovering a URI: https://id.erudit.org/iderudit/1050587ar new medium, he resumes an earlier setup involving the representation of DOI: https://doi.org/10.7202/1050587ar “traversable space:” that of the quest. The recourse to the famous actor Buster Keaton is part of this choice that makes of the film a fable. If a “theoretical” See table of contents (Berkeley) background is exploited by Beckett, the gaze is read here as an object, as theorized by Lacan, who contends that each one is subjected to an all-seeing gaze, before being constituted as a subject. Beckett considers the camera as a penetrating and impersonal agent. In Film, we see the reality constituted by the Publisher(s) imaginary give way to the intrusion of this gaze. In the absence of an original Les Presses de l’Université de Montréal assent of the Other, the Beckettian subject remains irremediably split, a fact that allows, in this film, to make the gaze a “character” in its own right: the Eye of the camera, which pursues the character, called Object (O). The former is subjectivity ISSN devoid of visible form, the latter is visibility devoid of interiority. -
Reconceptualising Teacher-Child Dialogue In
RECONCEPTUALISING TEACHER-CHILD DIALOGUE IN EARLY YEARS EDUCATION: A BAKHTINIAN APPROACH A thesis submitted in partial fulfilment of the requirements for the Degree of Doctor of Philosophy in Education in the University of Canterbury by L. de Vocht University of Canterbury 2015 Abstract This thesis argues that a Bakhtinian dialogic approach holds possibilities for reconceptualising and re-enacting teacher–child dialogue interactions in early years education. It accepts education as open-ended, with children as active participants and frames teacher–child dialogues as unique encounters, which can go beyond children’s neoliberal enculturation in the world. Neoliberal discourses have exerted an important influence on early years education, emphasising universal “best evidence” strategies and narrowly defined learning “outcomes” which can lead to technicist approaches to teaching and learning. The study explores the dialogic interactions between children aged from 3½ to 5 years and their teachers in two early childhood settings. In a dialogic methodological approach, two of the teachers and myself as a researcher critically engaged in collaborative discussions of selected video recordings of the teacher–child interactions. A Bakhtinian concept of moral answerability applies to the collaborative dialogic approach between teachers and researcher. It goes beyond teaching as a technical approach with universal strategies, to provide guidance for teachers in the unique lived experiences with their students. A dialogic reflexivity, which is employed both pedagogically and as a methodological approach in the study, is aligned with Bakhtin’s philosophy of praxis in everyday life experiences. A second Bakhtinian notion of polyphony explains how each person accesses multiple voices in response, which are shaped simultaneously by unique previous experiences and the encounter itself. -
Hartnett Dissertation
SSStttooonnnyyy BBBrrrooooookkk UUUnnniiivvveeerrrsssiiitttyyy The official electronic file of this thesis or dissertation is maintained by the University Libraries on behalf of The Graduate School at Stony Brook University. ©©© AAAllllll RRRiiiggghhhtttsss RRReeessseeerrrvvveeeddd bbbyyy AAAuuuttthhhooorrr... Recorded Objects: Time-Based Technologically Reproducible Art, 1954-1964 A Dissertation Presented by Gerald Hartnett to The Graduate School in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Art History and Criticism Stony Brook University August 2017 Stony Brook University 2017 Copyright by Gerald Hartnett 2017 Stony Brook University The Graduate School Gerald Hartnett We, the dissertation committee for the above candidate for the Doctor of Philosophy degree, hereby recommend acceptance of this dissertation. Andrew V. Uroskie – Dissertation Advisor Associate Professor, Department of Art Jacob Gaboury – Chairperson of Defense Assistant Professor, Department of Art Brooke Belisle – Third Reader Assistant Professor, Department of Art Noam M. Elcott, Outside Reader Associate Professor, Department of Art History, Columbia University This dissertation is accepted by the Graduate School Charles Taber Dean of the Graduate School ii Abstract of the Dissertation Recorded Objects: Time-Based, Technologically Reproducible Art, 1954-1964 by Gerald Hartnett Doctor of Philosophy in Art History and Criticism Stony Brook University 2017 Illuminating experimental, time-based, and technologically reproducible art objects produced between 1954 and 1964 to represent “the real,” this dissertation considers theories of mediation, ascertains vectors of influence between art and the cybernetic and computational sciences, and argues that the key practitioners responded to technological reproducibility in three ways. First of all, writers Guy Debord and William Burroughs reinvented appropriation art practice as a means of critiquing retrograde mass media entertainments and reportage. -
Three Dialogues Between Hylas and Philonous” --Greg Goode
Study Guide to Dialogue 1 – Berkeley’s “Three Dialogues between Hylas and Philonous” --Greg Goode The Text: We are using an annotated edition of the Dialogues (1713) from Jonathan Bennett’s Early Modern Texts (EMT) website. His site updates many philosophers to a more contemporary English. These versions tend to be easier to read and understand for modern readers. My annotated version is here. http://greg-goode.com/wp-content/uploads/2017/03/Three-Dialogues-Part-1-Early-Modern-Texts_Annotated.pdf This version has the additional outline and the section information. On the sections within each dialogue, I follow the lead from the printed edition by Colin M. Turbayne, MacMillan Publishing Company. First published in 1954, copyright renewed in 1985. What are they arguing about? Hylas (the materialist) argues that physical substance exists in an objective way, whether or not it is perceived by a mind. Physical substance, according to the various theories he offers, is the original of which our ideas are pictures. Or it is the archetype or explanation for our ideas. Philonous (the immaterialist) counters each argument by showing how supposed physical substance already is an idea. Throughout the three dialogs, they make progress. Hylas comes to agree with Philonous. • At the end of the FIRST dialogue: Hylas is silenced, though not convinced. He has run out of arguments. • At the end of the SECOND dialogue: Hylas is himself reduced to a state of skepticism. • At the end of the THIRD dialogue: Hylas comes to agree with Philonous’ immaterialism. About this Guide The Study Guide is a big table with selected quotes from the text on the left, with commentary on the right. -
Introduction 1
Notes Introduction 1. Samuel Beckett, “Waiting for Godot” in Samuel Beckett: The Complete Dramatic Works (London: Faber and Faber, 1990), 18. Hereafter all Beckett plays, except Eleutheria, are cited in the body of the text as CDW. 2. Frederick Simoons, Plants of Life, Plants of Death (Madison: University of Wisconsin Press, 1998); see especially Chapter 4, “Mandrake, a Root Human in Form.” 3. William Shakespeare, Henry VI, Part 2, Act III, sc. 2, l.314, The Complete Oxford Shakespeare I: Histories, eds. Stanley Wells and Gary Taylor, (Oxford: Oxford University Press, 1987). 4. Hugo Rahner, Greek Myths and Christian Mastery (New York: Biblio and Tannen, 1971), 257–8. 5. Jonathan Dollimore, Death, Desire and Loss in Western Culture (Harmondsworth: Allen Lane, Penguin, 1998), 46. 6. Ibid., 44. 7. St. Augustine, Confessions, 8.1, trans. R. S. Pine- Coffin (Harmondsworth: Penguin, 1961), 158. Cited by Beckett in Beckett’s Dream Notebook (Reading, PA: Beckett International Foundation, 1999), 20. Beckett used the 1907 Everyman library edition, translated by E. B. Pusey. 8. St. Augustine, Concerning The City of God against the Pagans, trans. Henry Bettenson (Harmondsworth, Penguin, 2003), 591. 9. Ibid., 577. 10. Ibid., 524. 11. Ibid., 515. 12. Ibid., 523. 13. Malone Dies, (London: Faber and Faber, 2010), 114. Hereafter cited in the body of the text as MD. 14. James Knowlson, Light and Darkness in the Theatre of Samuel Beckett (London: Turret Books, 1972). Although Manichaeism is in some senses a Gnostic reli- gion, I prefer that the terms are separated, not least because certain forms of Christian Gnosticism were attacked for promiscuity, whereas Manichaeism 200 ● Notes advocated and practiced extreme asceticism for the perfectus of the religion. -
FLICKER Numérisation Des Films Argentiques : Impact Sur La Conservation Des Effets Visuels De Couleur Et De Papillotement
Projet FLICKER Numérisation des films argentiques : impact sur la conservation des effets visuels de couleur et de papillotement. Groupes Art contemporain et Apparence Couleur du Centre de Recherche et de Restauration des Musées de France – C2RMF Cécile Dazord et Clotilde Boust http://obsolescence.hypotheses.org/ CINÉMA ARGENTIQUE ET « FLICKER » : LE CAS PARTICULIER DES FILMS DITS D’AVANT-GARDE OU EXPÉRIMENTAUX Fleur Chevalier, C2RMF 2011 PLAN CINÉMA ARGENTIQUE ET « FLICKER » : LE CAS PARTICULIER DES FILMS DITS D’AVANT-GARDE OU EXPÉRIMENTAUX......................................................................... 4 LE FLICKER : UNE NOTION À LA CROISÉE DE PLUSIEURS DISCIPLINES ............ 4 CINÉMA D’AVANT GARDE, CINÉMA EXPÉRIMENTAL : QUE RECOUVRE LE TERME « FLICKER » EMPLOYÉ DANS CE CONTEXTE ?............................................ 5 « FLICKER », « FLUTTER », « FLACKER », « STUTTER »,… CHAMPS LEXICAUX 6 I. JALONS HISTORIQUES ET THEORIQUES .................................................................. 6 1. P. Adams Sitney ............................................................................................................. 7 2. Malcolm Le Grice .......................................................................................................... 8 3. Film as film, formal experiment in film, 1910-1975.................................................... 11 4. Dominique Noguez ...................................................................................................... 14 5. William C. Wees ......................................................................................................... -
DAVID A. HATCH, Ph.D. EDUCATION
DAVID A. HATCH, Ph.D. Summer 2021 Division Chair, Arts and Languages 8022 Mckayla Rd. Associate Professor, English Summerville, SC 29483 University of South Carolina, Salkehatchie [email protected] (801) 376-1065 EDUCATION: Ph. D. HUMANITIES Florida State University, May 2004 Concentration: Interdisciplinary Modernism, Samuel Beckett Dissertation: "Samuel Beckett in (t)Transition: 'Three Dialogues with George Duthuit,' Aesthetic Evolution, and the Assault on Modernism." - Director: S. E. Gontarski M. Ed. HIGHER EDUCATION AND STUDENT AFFAIRS University of South Carolina, (expected December 2021) Concentration: University Administration M. A. HUMANITIES Florida State University, December 1996 Concentration: Modernism, Film B. A. HUMANITIES Brigham Young University, August 1994 Concentration: Classics TRAINING AND CERTIFICATES: - Carolina Online Learning and Teaching Certificate University of South Carolina, Center for Teaching Excellence - Spring 2021 - Preparing Future Faculty Certificate Florida State University Cluster - April 1997 ADMINISTRATION EXPERIENCE: Director - Student Support Services/Opportunity Scholars Program, October 2020-present Division Chair - Arts and Languages, USC Salkehatchie, 2018-present. Faculty Chair - USC Salkehatchie, 2016-2018 Chair, Search Committee - USC Salkehatchie: English, 2016 & 2018; Speech 2021 Chair, Globalization Committee - USC Salkehatchie, 2017-present Scoring Leader, Educational Testing Service - Advanced Placement Literature Exam reading, 2005-present - Train, supervise, and evaluate ten