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A Paula Ortiz Film Based on “Blood Wedding”
A Paula Ortiz Film A PAULA ORTIZ FILM INMA ÁLEX ASIER CUESTA GARCÍA ETXEANDÍA Based on “Blood Wedding” from Federico García Lorca. A film produced by GET IN THE PICTURE PRODUCTIONS and co-produced by MANTAR FILM - CINE CHROMATIX - REC FILMS BASED ON BLOOD WEDDING THE BRIDE FROM FEDERICO GARCÍA LORCA and I follow you through the air, like a straw lost in the wind. SYNOPSIS THE BRIDE - Based on “Blood Wedding” from F. García Lorca - Dirty hands tear the earth. A woman’s mouth shivers out of control. She breathes heavily, as if she were about to choke... We hear her cry, swallow, groan... Her eyes are flooded with tears. Her hands full with dry soil. There’s barely nothing left of her white dress made out of organza and tulle. It’s full of black mud and blood. Staring into the dis- tance, it’s dicult for her to breathe. Her lifeless face, dirtied with mud, soil, blood... she can’t stop crying. Although she tries to calm herself the crying is stronger, deeper. THE BRIDE, alone underneath a dried tree in the middle of a swamp, screams out loud, torn, endless... comfortless. LEONARDO, THE GROOM and THE BRIDE, play together. Three kids in a forest at the banks of a river. The three form an inseparable triangle. However LEONARDO and THE BRIDE share an invisible string, ferocious, unbreakable... THE GROOM looks at them... Years have gone by, and THE BRIDE is getting ready for her wedding. She’s unhappy. Doubt and anxiety consume her. She lives in the middle of white dessert lands, barren, in her father’s house with a glass forge. -
A Humble Protest a Literary Generation's Quest for The
A HUMBLE PROTEST A LITERARY GENERATION’S QUEST FOR THE HEROIC SELF, 1917 – 1930 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Jason A. Powell, M.A. * * * * * The Ohio State University 2008 Dissertation Committee: Approved by Professor Steven Conn, Adviser Professor Paula Baker Professor David Steigerwald _____________________ Adviser Professor George Cotkin History Graduate Program Copyright by Jason Powell 2008 ABSTRACT Through the life and works of novelist John Dos Passos this project reexamines the inter-war cultural phenomenon that we call the Lost Generation. The Great War had destroyed traditional models of heroism for twenties intellectuals such as Ernest Hemingway, Edmund Wilson, Malcolm Cowley, E. E. Cummings, Hart Crane, F. Scott Fitzgerald, and John Dos Passos, compelling them to create a new understanding of what I call the “heroic self.” Through a modernist, experience based, epistemology these writers deemed that the relationship between the heroic individual and the world consisted of a dialectical tension between irony and romance. The ironic interpretation, the view that the world is an antagonistic force out to suppress individual vitality, drove these intellectuals to adopt the Freudian conception of heroism as a revolt against social oppression. The Lost Generation rebelled against these pernicious forces which they believed existed in the forms of militarism, patriotism, progressivism, and absolutism. The -
False Authenticity in the Films of Woody Allen
False Authenticity in the Films of Woody Allen by Nicholas Vick November, 2012 Director of Thesis: Amanda Klein Major Department: English Woody Allen is an auteur who is deeply concerned with the visual presentation of his cityscapes. However, each city that Allen films is presented in such a glamorous light that the depiction of the cities is falsely authentic. That is, Allen's cityscapes are actually unrealistic recreations based on his nostalgia or stilted view of the city's culture. Allen's treatment of each city is similar to each other in that he strives to create a cinematic postcard for the viewer. However, differing themes and characteristics emerge to define Allen's optimistic visual approach. Allen's hometown of Manhattan is a place where artists, intellectuals, and writers can thrive. Paris denotes a sense of nostalgia and questions the power behind it. Allen's London is primarily concerned with class and the social imperative. Finally, Barcelona is a haven for physicality, bravado, and sex but also uncertainty for American travelers. Despite being in these picturesque and dynamic locations, happiness is rarely achieved for Allen's characters. So, regardless of Allen's dreamy and romanticized visual treatment of cityscapes and culture, Allen is a director who operates in a continuous state of contradiction because of the emotional unrest his characters suffer. False Authenticity in the Films of Woody Allen A Thesis Presented To the Faculty of the Department of English East Carolina University In Partial Fulfillment of the Requirements for the Degree MA English by Nicholas Vick November, 2012 © Nicholas Vick, 2012 False Authenticity in the Films of Woody Allen by Nicholas Vick APPROVED BY: DIRECTOR OF DISSERTATION/THESIS: _______________________________________________________ Dr. -
The Radical Ekphrasis of Gertrude Stein's Tender Buttons Georgia Googer University of Vermont
University of Vermont ScholarWorks @ UVM Graduate College Dissertations and Theses Dissertations and Theses 2018 The Radical Ekphrasis Of Gertrude Stein's Tender Buttons Georgia Googer University of Vermont Follow this and additional works at: https://scholarworks.uvm.edu/graddis Recommended Citation Googer, Georgia, "The Radical Ekphrasis Of Gertrude Stein's Tender Buttons" (2018). Graduate College Dissertations and Theses. 889. https://scholarworks.uvm.edu/graddis/889 This Thesis is brought to you for free and open access by the Dissertations and Theses at ScholarWorks @ UVM. It has been accepted for inclusion in Graduate College Dissertations and Theses by an authorized administrator of ScholarWorks @ UVM. For more information, please contact [email protected]. THE RADICAL EKPHRASIS OF GERTRUDE STEIN’S TENDER BUTTONS A Thesis Presented by Georgia Googer to The Faculty of the Graduate College of The University of Vermont In Partial Fulfilment of the Requirements For the Degree of Master of Arts Specializing in English May, 2018 Defense Date: March 21, 2018 Thesis Examination Committee: Mary Louise Kete, Ph.D., Advisor Melanie S. Gustafson, Ph.D., Chairperson Eric R. Lindstrom, Ph.D. Cynthia J. Forehand, Ph.D., Dean of the Graduate College ABSTRACT This thesis offers a reading of Gertrude Stein’s 1914 prose poetry collection, Tender Buttons, as a radical experiment in ekphrasis. A project that began with an examination of the avant-garde imagism movement in the early twentieth century, this thesis notes how Stein’s work differs from her Imagist contemporaries through an exploration of material spaces and objects as immersive sensory experiences. This thesis draws on late twentieth century attempts to understand and define ekphrastic poetry before turning to Tender Buttons. -
Motivation of the Sign 261 Discussion 287
Picasso and Braque A SYMPOSIUM ORGANIZED BY William Rubin \ MODERATED BY Kirk Varnedoe PROCEEDINGS EDITED BY Lynn Zelevansky THE MUSEUM OF MODERN ART, NEW YORK DISTRIBUTED BY HARRY N. ABRAMS, INC., NEW YORK Contents Richard E. Oldenburg Foreword 7 William Rubin and Preface and Acknowledgments 9 Lynn Zelevansky Theodore Reff The Reaction Against Fauvism: The Case of Braque 17 Discussion 44 David Cottington Cubism, Aestheticism, Modernism 58 Discussion 73 Edward F. Fry Convergence of Traditions: The Cubism of Picasso and Braque 92 Discussion i07 Christine Poggi Braque’s Early Papiers Colles: The Certainties o/Faux Bois 129 Discussion 150 Yve-Alain Bois The Semiology of Cubism 169 Discussion 209 Mark Roskill Braque’s Papiers Colles and the Feminine Side to Cubism 222 Discussion 240 Rosalind Krauss The Motivation of the Sign 261 Discussion 287 Pierre Daix Appe ndix 1 306 The Chronology of Proto-Cubism: New Data on the Opening of the Picasso/Braque Dialogue Pepe Karmel Appe ndix 2 322 Notes on the Dating of Works Participants in the Symposium 351 The Motivation of the Sign ROSALIND RRAUSS Perhaps we should start at the center of the argument, with a reading of a papier colle by Picasso. This object, from the group dated late November-December 1912, comes from that phase of Picasso’s exploration in which the collage vocabulary has been reduced to a minimalist austerity. For in this run Picasso restricts his palette of pasted mate rial almost exclusively to newsprint. Indeed, in the papier colle in question, Violin (fig. 1), two newsprint fragments, one of them bearing h dispatch from the Balkans datelined TCHATALDJA, are imported into the graphic atmosphere of charcoal and drawing paper as the sole elements added to its surface. -
An Opera in Five Acts
AN OPERA IN FIVE ACTS MUSIC BY LIBRETTO BY RICKY IAN GORDON ROYCE VAVREK STEPHANIE BLYTHE ELIZABETH FUTRAL THEO LEBOW TOBIAS GREENHALGH DANIEL BREVIK MEMBERS OF THE ST. LOUIS SYMPHONY CONDUCTED BY MICHAEL CHRISTIE COMMISSIONED AND PREMIERED BY OPERA THEATRE OF SAINT LOUIS RECORDED IN PERFORMANCE : JUNE 2014 1 CD 1 1) PROLOGUE | ALICE KNITS THE WORLD [5:35] ACT ONE 2) SCENE 1 — 27 RUE DE FLEURUS [10:12] ALICE B. TOKLAS 3) SCENE 2 — GERTRUDE SITS FOR PABLO [5:25] AND GERTRUDE 4) SCENE 3 — BACK AT THE SALON [15:58] STEIN, 1922. ACT TWO | ZEPPELINS PHOTO BY MAN RAY. 5) SCENE 1 — CHATTER [5:21] 6) SCENE 2 — DOUGHBOY [4:13] SAN FRANCISCO ACT THREE | GÉNÉRATION PERDUE MUSEUM OF 7) INTRODUCTION; “LOST BOYS” [5:26] MODERN ART. 8) “COME MEET MAN RAY” [5:48] 9) “HOW WOULD YOU CHOOSE?” [4:59] 10) “HE’S GONE, LOVEY” [2:30] CD 2 ACT FOUR | GERTRUDE STEIN IS SAFE, SAFE 1) INTRODUCTION; “TWICE DENYING A WAR” [7:36] 2) “JURY OF MY CANVAS” [6:07] ACT FIVE | ALICE ALONE 3) INTRODUCTION; “THERE ONCE LIVED TWO WOMEN” [8:40] 4) “I’VE BEEN CALLED MANY THINGS" [8:21] 2 If a magpie in the sky on the sky can not cry if the pigeon on the grass alas can alas and to pass the pigeon on the grass alas and the magpie in the sky on the sky and to try and to try alas on the grass the pigeon on the grass and alas. They might be very well very well very ALICE B. -
A Critical Study of the Loss and Gain of the Lost Generation
Opción, Año 34, Especial No.15 (2018): 1436-1463 ISSN 1012-1587/ISSNe: 2477-9385 A Critical Study of the Loss and Gain of the Lost Generation Seyedeh Zahra Nozen1 1Department of English, Amin Police Science University [email protected] Shahriar Choubdar (MA) Malayer University, Malayer, Iran [email protected] Abstract This study aims to the evaluation of the features of the group of writers who chose Paris as their new home to produce their works and the overall dominant atmosphere in that specific time in the generation that has already experienced war through comparative research methods. As a result, writers of this group tried to find new approaches to report different contexts of modern life. As a conclusion, regardless of every member of the lost generation bohemian and wild lifestyles, the range, creativity, and influence of works produced by this community of American expatriates in Paris are remarkable. Key words: Lost Generation, World War, Disillusionment. Recibido: 04-12--2017 Aceptado: 10-03-2018 1437 Zahra Nozen and Shahriar Choubdar Opción, Año 34, Especial No.15(2018):1436-1463 Un estudio crítico de la pérdida y ganancia de la generación perdida Resumen Este estudio tiene como objetivo la evaluación de las características del grupo de escritores que eligieron París como su nuevo hogar para producir sus obras y la atmósfera dominante en ese momento específico en la generación que ya ha experimentado la guerra a través de métodos de investigación comparativos. Como resultado, los escritores de este grupo trataron de encontrar nuevos enfoques para informar diferentes contextos de la vida moderna. -
Stein Portraits
74,'^ The Museum of Modern Art NO. 133 (D) U West 53 Street, New York, N.Y. 10019 Tel. 956-6100 Cable: Modemart PORTRAITS OF THE STEIN FAMILY The following portraits of the Steins are included in the show FOUR AMERICANS IN PARIS: THE COLLECTIONS OF GERTRUDE STEIN AND HER FAMILY. Christian Berard. "Gertrude Stein," 1928. Ink on paper (13% x 10%"). Eugene Berman. "Portrait of Alice B. Toklas," ca. I95O. India ink on paper (22 x 17"). Jo Davidson. "Gertrude Stein," ca. I923. Bronze (7 ^/k" high). "Jo Davidson too sculptured Gertrude Stein at this time. There, all was peaceful, Jo was witty and amusing and he pleased Gertrude Stein." —Gertrude Stein, Autobiography of Alice B. Toklas Jacques Lipchitz. "Gertrude Stein," I920. Bronze (I3 3/8"). "He had just finished a bust of Jean Cocteau and he wanted to do her. She never minds posing, she likes the calm of it and although she does not like sculpture and told Lipchitz so, she began to pose. I remember it was a very hot spring and Lipchitz*s studio was appallingly hot and they spent hours there. "Lipchitz is an excellent gossip and Gertrude Stein adores the beginning and middle and end of a story and Lipchitz was able to supply several missing parts of several stories. "And then they talked about art and Gertrude Stein rather liked her portrait and they were very good friends and the sittings were over." --Gertrude Stein, Autobiography of Alice B. Toklas Louis Marcoussis. "Gertrude Stein," ca. I953. Engraving (ik x 11"). Henri Matisse. -
American Modernist Writers: How They Touched the Private Realm of Life Leyna Ragsdale Summer II 2006
American Modernist Writers: How They Touched the Private Realm of Life Leyna Ragsdale Summer II 2006 Introduction The issue of personal identity is one which has driven American writers to create a body of literature that not only strives to define the limitations of human capacity, but also makes a lasting contribution in redefining gender roles and stretching the bounds of freedom. A combination of several historical aspects leading up to and during the early 20th century such as Women's Suffrage and the Great War caused an uprooting of the traditional moral values held by both men and women and provoked artists to create a new American identity through modern art and literature. Gertrude Stein used her writing as a tool to express new outlooks on human sexuality and as a way to educate the public on the repression of women in order to provoke changes in society. Being a pupil of Stein's, Ernest Hemingway followed her lead in the modernist era and focused his stories on human behavior in order to educate society on the changes of gender roles and the consequences of these changes. Being a man, Hemingway focused more closely on the way that men's roles were changing while Stein focused on women's roles. However, both of these phenomenal early 20th century modernist writers made a lasting impact on post WWI America and helped to further along the inevitable change from the unrealistic Victorian idea of proper conduct and gender roles to the new modern American society. The Roles of Men and Women The United States is a country that has been reluctant to give equal rights to women and has pushed them into subservient roles. -
The Hemingway Society 2012 Conference Hemingway up in Michigan
The Hemingway Society 2012 Conference Hemingway Up In Michigan 1 The Hemingway Society 2012 Conference Hemingway Up In Michigan 2 The Hemingway Society 2012 Conference Hemingway Up In Michigan SUNDAY, June 17 Sunday 12:30-4:30 Registration [Bay View Campus Club Building] Sunday 5:00-8:00 Opening Reception at the Perry Hotel with heavy hors d'oeuvres, wine, and cash bar. (Tickets Required) Sunday 8:00-10:00 Bay View Sunday Sunset Musical Program [Hall Auditorium] OPENING NIGHT has been a staple since the 1880’s with an exciting blend of musicians that combines virtuosic playing and singing in a magnificently eclectic concert, all seamlessly woven together for an enriching evening of vocal and instrumental music. A chance to experience one of the most unique forms of entertainment in the country. Purchase Tickets at the door ($13.50) MONDAY, June 18 Monday 9:00-10:30 Plenary Session One 1.1 Welcome and Opening Ceremony [Hall Auditorium] 1.2 "Why Are We Gathering Here in Michigan to Discuss Hemingway?" [Hall Auditorium] Moderator: Cecil Ponder, Independent Scholar Michael Federspiel, Central Michigan University Jack Jobst, Michigan Tech Frederic Svoboda, University of Michigan, Flint Monday 10:30-11:00 Morning Break [Woman’s Council Building] Monday 11:00-12:30 Panel Session Two 2.1 Hemingway's Apprentice Work [Loud Hall] Moderator: Lisa Tyler, Sinclair Community College 1) “Hemingway’s Poetry-Images from Michigan to Japan,” Akiko Manabe (Shiga University) 2) “Those Early Short Stories and Sketches,” Charles J. Nolan, Jr. (US Naval Academy) 3) “’It must have ended somewhere’: Lost Youth in Hemingway’s Northern Michigan Landscapes,” Felicia M. -
Everybody's Story: Gertrude Stein's Career As a Nexus
EVERYBODY’S STORY: GERTRUDE STEIN’S CAREER AS A NEXUS CONNECTING WRITERS AND PAINTERS IN BOHEMIAN PARIS By Elizabeth Frances Milam A thesis submitted to the faculty of the University of Mississippi in partial fulfillment of the requirements of the Sally Barksdale Honors College Oxford, May 2017 Approved by: _______________________________________ Advisor: Professor Elizabeth Spencer _______________________________________ Reader: Professor Matt Bondurant ______________________________________ Reader: Professor John Samonds i ©2017 Elizabeth Frances Milam ALL RIGHTS RESERVED ii ABSTRACT ELIZABETH FRANCES MILAM: EVERYBODY’S STORY: GERTRUDE STEIN’S CAREER AS A NEXUS CONNECTING WRITERS AND PAINTERS IN BOHEMIAN PARIS Advisor: Elizabeth Spencer My thesis seeks to question how the combination of Gertrude Stein, Paris, and the time period before, during, and after The Great War conflated to create the Lost Generation and affected the work of Sherwood Anderson and Ernest Hemingway. Five different sections focus on: the background of Stein and how her understanding of expression came into existence, Paris and the unique environment it provided for experimentation at the beginning of the twentieth century (and how that compared to the environment found in America), Modernism existing in Paris prior to World War One, the mass culture of militarization in World War One and the effect on the subjective perspective, and post-war Paris, Stein, and the Lost Generation. iii TABLE OF CONTENTS INTRODUCTION………………………………………………………………v-vi CHAPTER ONE: STEIN’S FORMATIVE YEARS…………………………..vii-xiv CHAPTER TWO: EARLY TWENTIETH CENTURY PARIS……..………...xv-xxvi CHAPTER THREE: PREWAR MODERNISM.........………………………...xxvii-xl CHAPTER FOUR: WORLD WAR ONE…….......…………..…………..……...xl-liii CHAPTER FIVE: POST WAR PARIS, STEIN, AND MODERNISM ……liii-lxxiv CONCLUSION…………………………………………………………....lxxv-lxxvii BIBLIOGRAPHY……………………………………………………….lxxviii-lxxxiii iv INTRODUCTION: The destruction caused by The Great War left behind a gaping chasm between the pre-war worldview and the dark reality left after the war. -
Tender Buttons Gertrude Stein’S Haptic Poetics and the Science of Touch
Feeling Tender Buttons Gertrude Stein’s Haptic Poetics and the Science of Touch Oakley Dean Friedberg Submitted in Partial Fulfillment of the Requirement for the Degree of Bachelor of Arts with Honors in Science and Society Brown University April 2017 Primary Advisor: Ada Smailbegović, Ph.D. Second Reader: William Warren, Ph.D. Acknowledgments I would like to thank my advisor, Professor Ada Smailbegović, for helping me learn how to map out a space between science and poetry. Your hand-drawn illustrations and verbal analogies to kingdoms, symphonies, sandwiches, and treasure, have been invaluable. Thank you for teaching me that I am writing for multiple types of readers, but also that I am exploring these ideas in writing for myself. Thank you to Professor William Warren for being an insightful second reader, and for sharing feedback that has deeply sharpened my conceptual framework. I am so grateful to have had this opportunity to work with you. Thank you, as well, to Louis Sass, for being an intellectual role model, and for always being so kind while helping me take my writing to the next level. I could not have done this without the support of my family, especially my mom, who has dedicated so much time and care to get me to the finish line. Thank you to my dad for always encouraging me to trust my gut, and to my sister, Lucy, for playing backgammon with me during study breaks. ii In my desiring perception I discover something like a flesh of objects. My shirt rubs against my skin, and I feel it.