DOCSLIB.ORG

Świat Westernów Johna Forda

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Świat Westernów Johna Forda Łukasz A. Plesnar Świat westernów Johna Forda Podczas swej pięćdziesięciodziewięcioletniej kariery reżyserskiej John Ford zrealizował 129 filmów fabularnych (jeden, Jak zdobyto Dziki Zachód to wspólne dzieło Forda, Henry'ego Hathawaya i George'a Marshalla)1. Znalazły się wśród nich utwory należące do różnych gatunków: komedie, dramaty społeczne i psychologiczne, filmy przygodowe, historyczne, kryminalne i wojenne. Naj­ więcej, bo aż 59, było westernów. Nic więc dziwnego, że przez kinomanów Ford postrzegany jest przede wszystkim jako twórca tego właśnie gatunku2. 1 John Ford przyszedł na świat 1 lutego 1894 roku w Cape Elizabeth w Maine, w rodzinie irlandzkich imigrantów. Naprawdę nazywał się John Martin Feeney, choć wołał przedsta­ wiać się jako Sean Aloysius O'Feeney. Do Hollywoodu trafił śladem brata, aktora i reżyse­ ra, który przybrał pseudonim artystyczny Francis Ford. Początkowo John Martin pracował przy budowie dekoracji i grywał epizodyczne role, m.in. jednego z jeźdźców Ku-Klux-Kla- nu w Narodzinach narodu Griffitha. Reżyserować zaczął w 1917 roku pod nazwiskiem Jack Ford. Imię John przyjął dopiero w 1923, co stanowiło - być może - świadome nawiązanie do sławnego dramatopisarza elżbietańskiego, Johna Forda. 2 Prac opisujących i analizujących westerny Forda powstało bardzo wiele. Tu podaję tytuły je­ dynie najważniejszych. Angela Aleiss: A Race Divided: The Indian Westerns of John Ford, „Ame­ rican Indian Culture and Research Journal", vol. 18, nr 3 (Summer 1994), s. 167-187; Ralph Brauer: The Fractured Eye: Myth and History in the Westerns of John Ford and Sam Peckinpah, „Film and History" 1977, no 7 (4), s. 73-84; Susan Courtney: Looking for (Race and Gender) Trouble in Monument Valley, „Qui Parle: Literature, Philosophy, Visual Arts, History", vol. 6 nr 2 (Spring-Summer 1993), s. 97-130; Peter Cowie: John Ford and the American West, New York: H.N. Abrams 2004; William Darby: John Ford's Westerns: A Thematic Analysis, with a Filmog­ raphy, Jefferson, N.C.: McFarland 1996; Ronald L. Davis: Paradise Among the Monuments: John Ford's Vision of the American West, „Montana" 1995, nr 45 (3), s. 48-63; Kirk Ellis: On the Warpath: John Ford and the Indians, „Journal of Popular Film and Television", vol. 8, nr 2 (1980), s. 34-41; Tag Gallagher: John Ford's Indians, „Film Comment", vol. 29, nr 5 (Septem­ ber-October 1993), s. 68-72; Jeanne Haffernan: Poised Between Savagery and Civilization: Forg­ ing Political Communities in Ford's Westerns, „Perspectives on Political Sciences", vol. 28, nr 3 116 Łukasz A. Plesnar Trudno znaleźć wspólny mianownik dla wszystkich westernów Forda. W swej twórczości dokonał on bowiem wielu światopoglądowych i ideowych wolt. Znany z konserwatywnych przekonań i poglądów, które ujawniały się również w jego filmach, miał na koncie utwory o wyraźnie liberalnej wymo­ wie (Sierżanta Rutledge'a, Jesień Czejenów, a spośród niewesternów Więźnia na Wyspie Rekinów, Grona gniewu i Drogę tytoniową); przyjaźniąc się z Indianami potrafił przedstawiać ich jako barbarzyńską tłuszczę (Żelazny koń, Dyliżans, Rio Grande), by chwilę później przyjąć zupełnie inną perspektywę i ukazać ich jako ludzi z natury dobrych i honorowych, lecz skrzywdzonych przez białych (Fort Apache, Jesień Czejenów); będąc apologetą wartości związanych z indywidualizmem i niczym nieskrępowanego prawa jednostki do samo- ekspresji, tworzył też dzieła, w których podkreślał konstruktywną rolę zbio­ rowości, nawołując do solidaryzmu społecznego lub narodowego (Żelazny koń, Werble nad Mohawkiem, Droga do San Juan, Dwaj jeźdźcy). W moim szkicu skupię się na kilku zaledwie problemach: stosunku re­ żysera do cywilizacji, jego wizji amerykańskiej historii i kawalerii Stanów Zjednoczonych oraz mitologizacji niektórych typów postaci: przede wszyst­ kim „dobrego" bandyty i mściciela. Żelazny koń i Droga do San Juan-, pochwała cywilizacji Najwcześniejsze obrazy Forda, powstałe w większości w Universal Pic­ tures, niczym specjalnym się nie wyróżniały: miały prostą, schematyczną fabułę, jednowymiarowe i stereotypowe postaci, a ich poziom warsztatowy nie odbiegał od przeciętnych, ówczesnych produkcji. Nie przeszkodziło to jednak reżyserowi w odnoszeniu sukcesów kasowych. To dzięki nim uzyskał w 1924 roku możliwość realizacji dzieła o wiele ambitniejszego od wszyst­ kiego, co do tej pory stworzył: drugiego w dziejach kina, po Karawanie (The Covered Wagon, 1923) Jamesa Cruze'a, epickiego westernu. Żelazny koń, bo (Summer 1999), s.147; Catherine Ingrassia: I'm not kicking, I'm talking: Discursive Economies in the Western, „Film Criticism", vol. 20, nr 3 (Spring 1994), s. 4-15; Rodericj McGillis: Wester­ ing of the Spirit: Wordsworth Out West, „Journal of Popular Culture", vol. 18, nr 2 (Fall 1984), s. 85-95; Howard Movshovitz: The Still Point: Women in the Westerns of John Ford, „Frontiers" 1984, nr 7 (3), s. 68-72; Tutun Mukherjee: Women in the Patriarchal Unconscious: Western Films of John Ford and Howard Hawks, „Indian Journal of American Studies" 1996, nr 26 (1), s. 9-107; Ken Nolley: John Ford and the Hollywood Indian, „Film and History" 1993, nr 23 (1-4), s. 44-56; Ken Nolley: Printing the Legend in the Age of MX: Reconsidering Ford's Military Trilogy, „Lit­ erature / Film Quarterly", vol. 14, nr 2, s. 82-88; Janey Ann Place: The Western Films of John Ford, Secaucus, N.J.: Citadel Press 1974; Gaylyn Studlarand Matthew Bernstein (red.): John Ford Made Westerns: Filming the Legend in the Sound Era, Bloomington: Indiana University Press 2001; Mike Yawn, Bob Beatty: John Ford's Vision of the Closing West: From Optimism to Cynicism, „Film and History" 1996 nr 26 (1-4), s. 6-19. Świat westernów Johna Forda 117 j nim mowa, jest dziś powszechnie uznawany za film przełomowy nie tylko at karierze Johna Forda, ale i w historii westernu. Wedle opinii Jima Kitsesa3 fabularna struktura westernu opiera się na intynomii dzikiej Natury (wilderness) i Cywilizacji (podobne rozróżnienie wprowadził prawie dwadzieścia lat wcześniej Henry Nash Smith4, posłu­ gując się pojęciami pustyni i ogrodu). Na tej podstawowej dychotomii nad­ budowują się opozycje wtórne (jednostka - społeczność, przyroda - kultu­ ra i Zachód - Wschód) oraz opozycje jeszcze niższego rzędu, dookreślając wszystkie składniki gatunku, w tym jego ideologię. Przeciwstawienie dzikiej natury i cywilizacji pojawia się w westernach w różnym natężeniu, czasami staje się nawet ich główną zasadą konstruk­ cyjną, tak właśnie, jak w Żelaznym koniu - opowieści o budowie pierwszej w Ameryce transkontynentalnej linii kolejowej. Na tym historycznym tle reżyser ukazuje przygody szlachetnego i odważnego Davy'ego Brandona George O'Brien), który poszukuje mordercy swego ojca, a jednocześnie »tara się o rękę Miriam (Madge Bellamy), córki jednego z inżynierów kolejo­ wych i towarzyszki zabaw z dzieciństwa. Film Forda przedstawia jeden z epizodów procesu zdobywania i oswa- ania Zachodu. Proces ten jest przy tym charakteryzowany z dużą sympatią, bez cienia tęsknoty i nostalgii za „starymi czasami", gdy na wschód od Mis­ sissippi panowała niczym nieskrępowana anarchia i bezprawie. Postęp i cy­ wilizacja - zdaje się mówić Ford - są dobrem samym w sobie, umożliwiając narodowi amerykańskiemu ekonomiczny, materialny i duchowy rozwój. To dzięki inicjatywom takim jak budowa kolei młode i zróżnicowane kulturo­ wo społeczeństwo, pełne imigrantów z różnych stron świata, może okrzep­ nąć i poczuć mistyczną niemal jedność oraz solidarność. Żelazny koń nie jest yvesternem w pełni typowym. Decyduje o tym kon­ strukcja postaci centralnej. Davy Brandon to człowiek urodzony w Filadelfii, wykształcony i pochodzący z dobrej rodziny, reprezentujący wartości koja­ rzone zwykle ze Wschodem (rozwarstwienie społeczne, industrializm, postęp i przyszłość) oraz kulturą (wiedzę, idealizm, legalizm, łagodność i człowie­ czeństwo)5. Tymczasem bohaterowie utworów o Dzikim Zachodzie sytuu- ą się zazwyczaj „pomiędzy" Wschodem i Zachodem, kulturą i przyrodą, społecznością i jednostką; innymi słowy między cywilizacją i dziką naturą. Pełnią oni rolę mediatorów między dwoma systemami wartości. W którymś momencie opowiadają się wprawdzie po stronie społeczności w jej walce ze 1 Patrz: Jim Kitses: Horizons West, Bloomington: Indiana University Press 1969. 1 Patrz: Henry Nash Smith: Virgil Land. The American West as Symbol and Myth, New York: Vintage Books 1950. ’ Patrz cytowana już praca Horizons West, w której autor analizuje wszystkie opozycje wystę­ pujące w westernowej strukturze. 118 Łukasz A. Plesnar ziem (wywodzącym się z dzikiej natury), ale pod koniec filmu, wypełniwszy swe obowiązki wobec zbiorowości i tak opuszczają miasteczko, ranczo lub farmę, udając się samotnie w górskie, leśne albo pustynne ostępy. Taka konstrukcja bohatera powoduje, że świat przedstawiony wester­ nów rzadko bywa w pełni dwudzielny. Film Forda jest pewnego rodzaju wyjątkiem, wszystkie postaci sytuują się bowiem bądź po stronie cywilizacji (czyli dobra), bądź po stronie dzikiej natury (czyli zła). Dobra, obok Davy'ego i Miriam, bronią ich ojcowie, David Brandon (James Gordon) i Thomas Marsh (Will Walling), prezydent Abraham Lincoln (Charles Edward Buli) i kapral Casey (J. Farrell MacDonald), razem z Davym ochraniający Union Pacific. Zło natomiast reprezentuje niejaki Deroux (Fred Kohler) - nieuczci­ wy, wielki posiadacz ziemski, a zarazem morderca Brandona-seniora, oraz Czejenowie, atakujący budowniczych kolei6. Żelazny koń, już w momencie wejścia na ekrany, uznany został za wielkie osiągnięcie artystyczne. Logicznie prowadzona akcja, wzruszający i zakoń­ 6 Żelazny koń zapoczątkował
Load more

Recommended publications
  • The Terena and the Caduveo of Southern Mato Grosso, Brazil
    SMITHSONIAN INSTITUTION n INSTITUTE OF SOCIAL ANTHROPOLOQY H PUBLICATION NO. 9 THE TERENA AND THE CADUVEO OF SOUTHERN MATO GROSSO, BRAZIL by KALERVO OBERG Digitalizado pelo Internet Archive. Disponível na Biblioteca Digital Curt Nimuendaju: http://biblio.etnolinguistica.org/oberg_1949_terena SMITHSONIAN INSTITUTION INSTITUTE OF SOCIAL ANTHROPOLOGY PUBLICATION NO. 9 THE TERENA AND THE CADUVEO OF SOUTHERN MATO GROSSO, BRAZIL by KALERVO OBERG Prepared in Cooperation tiith the United States Department of State as a Project of the Interdrpartmental Committee on Scientific and Cultural Cooperation UNITED STATES GOVERNMENT PIIINTING OFFICE-WASHINGTON:1949 For Bale by the Superintendent of Documenn, U.^S. Government Printing Office, WaohinBton 25, D. C. • Price 60 c LETTER OF TRANSMITTAL Smithsonian Institution, Institute of Social Anthropology, WashinfftonSS, D. C, May 6, 1948 Sir: I have the honor to transmit herewith a manuscript entitled "The Terena and the Caduveo of Soutliern Mato Grosso, Brazil," by Kalervo Oberg, and to recommend that it be published as Publication Number 9 of the Institute of Social Anthropologj'. Very respectfully yours, George M. Foster, Director. Dr. Alexander Wetmore, Secretary of the Smithsonian Institution. CONTENTS PAGE The Terena—Continued page Introduction 1 The hfe cycle 38 The Terena 6 Birth (ipuhicoti-hiuki) 38 Terena economy in the Chaco 6 Puberty 39 Habitat 6 Marriage (koyendti) 39 Shelter 8 Burial 40 Clothing and ornaments 9 Collecting, hunting, and fishing 9 Modern changes 41 Agriculture 10 Religion 41 Domestic animals and birds 12 Rehgious beliefs 41 Manufactures 12 Shamanism 43 Raiding 13 Present-day religion 45 Property and inheritance 13 Secular entertainment 47 Organization of labor 13 Dances and games 47 Present-day economy of the Terena 13 General description 13 Football 51 Sources of income in a typical village.
    [Show full text]
  • Cinéma, De Notre Temps
    PROFIL Cinéma, de notre Temps Une collection dirigée par Janine Bazin et André S. Labarthe John Ford et Alfred Hitchcock Le loup et l’agneau le 4 juillet 2001 Danièle Huillet et Jean-Marie Straub le 11 juillet 2001 Aki Kaurismäki le 18 juillet 2001 Georges Franju, le visionnaire le 25 juillet 2001 Rome brûlée, portrait de Shirley Clarke le 1er août 2001 Akerman autoportrait le 8 août 2001 23.15 tous les mercredis du 4 juillet au 8 août Contact presse : Céline Chevalier / Nadia Refsi - 01 55 00 70 41 / 70 40 [email protected] / [email protected] La collection Cinéma, de notre temps Cinéma, de notre temps, collection deux fois née*, c'est tout le contraire d'un pèlerinage à Hollywood, " cette marchande de coups de re v o l v e r et (…) de tout ce qui fait circuler le sang ". C'est la tentative obstinée d'éclairer et de montre r, dans chacun des films qui la composent, comment le cinéma est bien l'art de notre temps et combien il est, à ce titre, redevable de bien autre chose que de réponses mondaines, de commentaires savants ou de célébrations. La programmation de cette collection est l'occasion de de constater combien ces " œuvres de télévision " échappent aux outrages du temps et constituent une constellation unique au monde dans le ciel du 7è m e a rt . Thierry Garrel Directeur de l'Unité de Programmes Documentaires à ARTE France *En 1964, Janine Bazin et André S Labarthe créent Cinéastes de notre temps.
    [Show full text]
  • John Ford Birth Name: John Martin Feeney (Sean Aloysius O'fearna)
    John Ford Birth Name: John Martin Feeney (Sean Aloysius O'Fearna) Director, Producer Birth Feb 1, 1895 (Cape Elizabeth, ME) Death Aug 31, 1973 (Palm Desert, CA) Genres Drama, Western, Romance, Comedy Maine-born John Ford originally went to Hollywood in the shadow of his older brother, Francis, an actor/writer/director who had worked on Broadway. Originally a laborer, propman's assistant, and occasional stuntman for his brother, he rose to became an assistant director and supporting actor before turning to directing in 1917. Ford became best known for his Westerns, of which he made dozens through the 1920s, but he didn't achieve status as a major director until the mid-'30s, when his films for RKO (The Lost Patrol [1934], The Informer [1935]), 20th Century Fox (Young Mr. Lincoln [1939], The Grapes of Wrath [1940]), and Walter Wanger (Stagecoach [1939]), won over the public, the critics, and earned various Oscars and Academy nominations. His 1940s films included one military-produced documentary co-directed by Ford and cinematographer Gregg Toland, December 7th (1943), which creaks badly today (especially compared with Frank Capra's Why We Fight series); a major war film (They Were Expendable [1945]); the historically-based drama My Darling Clementine (1946); and the "cavalry trilogy" of Fort Apache (1948), She Wore a Yellow Ribbon (1949), and Rio Grande (1950), each of which starred John Wayne. My Darling Clementine and the cavalry trilogy contain some of the most powerful images of the American West ever shot, and are considered definitive examples of the Western. Ford also had a weakness for Irish and Gaelic subject matter, in which a great degree of sentimentality was evident, most notably How Green Was My Valley (1941) and The Quiet Man (1952), which was his most personal film, and one of his most popular.
    [Show full text]
  • Boxer Died from Injuries in Fight 73 Years Ago," Pittsburgh Post-Gazette, January 28, 2010
    SURVIVOR DD/MMM /YEA RESULT RD SURVIVOR AG CITY STATE/CTY/PROV COUNTRY WEIGHT SOURCE/REMARKS CHAMPIONSHIP PRO/ TYPE WHERE CAUSALITY/LEGAL R E AMATEUR/ Richard Teeling 14-May 1725 KO Job Dixon Covent Garden (Pest London England ND London Journal, July 3, 1725; (London) Parker's Penny Post, July 14, 1725; Old Bailey Proceedings Online (www.oldbaileyonline.org), Richard Teeling, Pro Brain injury Ring Blows: Manslaughter Fields) killing: murder, 30th June, 1725. The Proceedings of the Old Bailey Ref: t17250630-26. Covent Garden was a major entertainment district in London. Both men were hackney coachmen. Dixon and another man, John Francis, had fought six or seven minutes. Francis tired, and quit. Dixon challenged anyone else. Teeling accepted. They briefly scuffled, and then Dixon fell and did not get up. He was carried home, where he died next day.The surgeon and apothecary opined that cause of death was either skull fracture or neck fracture. Teeling was convicted of manslaughter, and sentenced to branding. (Branding was on the thumb, with an "M" for murder. The idea was that a person could receive the benefit only once. Branding took place in the courtroom, Richard Pritchard 25-Nov 1725 KO 3 William Fenwick Moorfields London England ND Londonin front of Journal, spectators. February The practice12, 1726; did (London) not end Britishuntil the Journal, early nineteenth February 12,century.) 1726; Old Bailey Proceedings Online (www.oldbaileyonline.org), Richard Pro Brain injury Ring Misadventure Pritchard, killing: murder, 2nd March, 1726. The Proceedings of the Old Bailey Ref: t17260302-96. The men decided to settle a quarrel with a prizefight.
    [Show full text]
  • Built with Empty Fists: the Rise and Circulation of Black Power Martial Artistry During the Cold War
    Built with Empty Fists: The Rise and Circulation of Black Power Martial Artistry during the Cold War by Maryam K. Aziz A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (American Culture) in the University of Michigan 2020 Doctoral Committee: Associate Professor Matthew J. Countryman, Chair Associate Professor Victor Román Mendoza Associate Professor Sherie M. Randolph, Georgia Tech University Associate Professor Stephen Ward Maryam K. Aziz [email protected] ORCID iD: 0000-0002-2006-4285 © Maryam K. Aziz 2020 DEDICATION To my Nana, Dr. Winfred Barbee, who passed away just as I finished prelims and defended my prospectus. Thank you for helping to raise me, for all the years of laughter, rigor, and Black culture, and for being the first person to see me submit this dissertation, perched from your hallowed place atop my desk. To Aura Rain Rosser, who lost her life shortly after I arrived in Ann Arbor. If not for state violence, you may very well have become the doctor instead of me, but you certainly would have grown old. And to all the Black women, cis, trans, and non-binary, who have lost their lives but now fly over us. You are the real warriors. #SayHerName ii ACKNOWLEDGEMENTS I could not have written this project without the figures included in its pages. They told their own stories and created their own archives. I picked up a story already told and, like my favorite detectives, listened to those who lived it. I thank everyone that showed me that martial arts, movement arts, and healing movements are woven into the fabric of human cultures.
    [Show full text]
  • Companies Start Rescinding Managers' Pandemic Pay Cuts
    P2JW235000-8-A00100-17FFFF5178F A Patio Yo u Can How Trump Use All Winter Has Changed the Republicans OFF DUTY REVIEW WSJ THE WALL STREETJOURNAL WEEKEND ******** SATURDAY/SUNDAY,AUGUST 22 -23, 2020 ~VOL. CCLXXVI NO.45 WSJ.com HHHH $5.00 California Wages Desperate Battle Against Raging Fires Home What’s News Sales World-Wide Reach illions of dollars in fed- Lofty Beral funds earmarked forboosting nationwide Covid-19 testing remain un- Heights spent months afterCon- gressmade the money avail- able,according to HHS. A1 Pandemic, millennials Nursing homes need an aggressivefederal approach revamp market in a to the Covid-19 crisis,ac- rare bright spot for cording to recommendations from apanel convened by the U.S. economy the Trump administration. A6 BY NICOLE FRIEDMAN Thepostmaster general defended his effortstomake Home sales surgedinJuly, the USPS runmoreefficiently signalinghow the pandemic is and said the service could reshaping whereand how handle an expected surge in Americans want to liveduring mailed ballots this fall. A5 aperiod of social distancing Kremlin critic Navalnywas and working from home. being takentoGermanyfor M/REUTERS Home buyers who were re- treatment. His supportersal- LA luctanttoventureout in March lege he waspoisoned, but doc- and April when much of the EPHEN tors in Russia said they didn’t ST countrywas under lockdown find toxins in his system. A8 FURNACE: Major wildfires continued to plague California on Friday, many of them around the heavily populated SaN have returned in forcesince Francisco BayArea. One of the nearly 12,000 firefightersdeployedacross the state doused flames in Boulder Creek. A3 latespring.With the effectsof Nearly12,000 firefighters coronavirus showing little signs across California were bat- of abating,manyhome shop- tling major wildfires, pershavenew priorities fora many of them around the placetolive, or areaccelerating heavily populated SaN existing plans,brokers and Francisco Bay Area.
    [Show full text]
  • UCLA Electronic Theses and Dissertations
    UCLA UCLA Electronic Theses and Dissertations Title Research, Rhetoric, and the Cinematic Events of Cecil B. DeMille Permalink https://escholarship.org/uc/item/0d82925m Author Wagner, Philip Joseph Publication Date 2016 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Research, Rhetoric, and the Cinematic Events of Cecil B. DeMille A Dissertation Submitted in Partial Satisfaction of the Requirement for the Degree of Doctor in Philosophy In Film and Television by Philip Joseph Wagner 2016 ©Copyright by Philip Joseph Wagner 2016 ABSTRACT OF THE DISSERTATION Research, Rhetoric, and the Cinematic Events of Cecil B. DeMille By Philip Joseph Wagner Doctor of Philosophy in Film and Television University of California, Los Angeles, 2016 Professor Chon A. Noriega, Chair This dissertation looks to the career of epic cinema pioneer Cecil B. DeMille in order to grasp the role of the research department in the Hollywood studio system. Situated at the intersections of three areas of study—scholarship on the form and social function of popular historical representation; theorizing on the archive as a site of knowledge production; and studies on film authorship that attend to the historical underpinnings of aesthetic choices—the dissertation explores the following questions in particular: What were the industrial standards on which studio researchers based the success and authenticity of their work? And what can we know about the research process as it relates to the production and reception of DeMille’s brand of spectacular cinema? ii I offer this study as an intervention into previous scholarship on research practice in Hollywood, which too often stresses cinema’s divergence from the factual record and draws a rigid binary between academia’s histories and the “unprofessional” ones derived from research departments.
    [Show full text]
  • View of the Praan-Based Courts, and So Could Not Care Less About Working for the Government
    ABSTRACT BLOOD OF THE WINDMAKER by Elizabeth Jenike BLOOD OF THE WINDMAKER is a fantasy/steam punk novel that attempts to make an exploration into human bodies and their significance/insignificance using fantasy tropes and an inverted Journey of the Hero structure. During the writing of this, I was especially interested in subversions and “otherings” of the human body—tattoo markings have an intricate role in the magic system of my world, but the acquisition of this “magic” marks a person as Other. I’m trying to answer the questions: why do some bodies generate more meaning than others? What do bodies really “mean”? BLOOD OF THE WINDMAKER A Thesis Submitted to the Faculty of Miami University in partial fulfillment of the requirements for the degree of Master of Arts Department of English by Elizabeth Jenike Miami University Oxford, Ohio 2014 Advisor: Brian Roley Reader: Margaret Luongo Reader: Kay Sloan Table of Contents PART I Chapter 1: TO BREAK THE LAW……………………………………………..p. 2 Chapter 2: A STRANGE WARMTH…………………………………………...p. 7 Chapter 3: AN AWKWARD SILENCE………………………………………...p. 14 Chapter 4: THE APPLICATION PROCESS……………………………………p. 21 Chapter 5: GREATSTORM……………………………………………………..p. 25 Chapter 6: OPTIONS……………………………………………………………p. 30 Chapter 7: LETTERS AND WARNINGS………………………………………p. 35 Chapter 8: A FEW QUIET WORDS…………………………………………….p. 43 PART II Chapter 9: NEW WINGS………………………………………………………..p. 50 Chapter 10: ANOTHER NOTE………………………………………………….p. 55 Chapter 11: A SMALL BLACK BOX…………………………………………..p. 59 Chapter 12: BLUE CLOAKS AND AMBER ALE……………………………..p. 64 Chapter 13: FORGIVE ME……………………………………………………...p. 68 Chapter 14: A BRAND NEW BOX FOR YOUR SOUL……………………….p. 74 PART III Chapter 15: WAITING………………………………………………………….p.
    [Show full text]
  • Saturnine Wall
    CONTENTS CONTENTS DRAMATIS PERSONAE HELL IS A CHAINSWORD DEEP ONE TWO THREE FOUR I AM THE FORTRESS NOW ONE TWO THREE FOUR FIVE SIX FOUR VICTORIES (TO THE DEATH) ONE TWO THREE FOUR FIVE THE TWENTY-SIXTH OF QUINTUS AFTERWORD ACKNOWLEDGEMENTS DRAMATIS PERSONAE The Traitor Host of Warmaster Horus Lupercal F – ‘The Phoenician’, Primarch of the III Legion, Emperor’s Children P – ‘The Lord of Iron’, Primarch of the IV Legion, Iron Worriors A – ‘The Red Angel’, Primarch of the XII Legion, World Eaters M – ‘The Pale King’, Primarch of the XIV Legion, Death Guard M R – ‘The Crimson King’, Primarch of the XV Legion, Thousand Sons The IV Legion ‘Iron Warriors’ Y C – Lord Captain of the Second Armored Century O G – Warsmith, Stor-Bezashk B M – Warsmith, Stor Bezashk The XVI ‘Legion Sons of Horus’ K A – Equerry to Warmaster Lupercal The Mournival E A – First Captain H A – ‘Little Horus’, Captain, Fifth Company T F K – ‘Widowmaker’, Captain, Justaerin Terminator section T M – Captain of the 18th Company L G – Captain of the 25th Company S L – Line Captain, 5th Company, Haemora Destroyer Squad U G – Line Captain of the Justaerin Terminator section X E – Assault Captain, Chtonae Reaver Squad, 18th Company DR – Line Captain of the Catulan Reaver section The XII Legion ‘World Eaters’ K – Captain, Eight Assault Company E – of the Devourers K Y – of VII Rampager H – of the Caedere S B B – Centurion H M – Centurion B R B M B G J – of the Devourers U K – of III Destroyers S C D V M – of the Caedere M A K K – of II Triarii R R T G F C W – Centurion M D – of
    [Show full text]
  • List of 7200 Lost US Silent Feature Films 1912-29
    List of 7200 Lost U.S. Silent Feature Films 1912-29 (last updated 12/29/16) Please note that this compilation is a work in progress, and updates will be posted here regularly. Each listing contains a hyperlink to its entry in our searchable database which features additional information on each title. The database lists approximately 11,000 silent features of four reels or more, and includes both lost films – approximately 7200 as identified here – and approximately 3800 surviving titles of one reel or more. A film in which only a fragment, trailer, outtakes or stills survive is listed as a lost film, however “incomplete” films in which at least one full reel survives are not listed as lost. Please direct any questions or report any errors/suggested changes to Steve Leggett at [email protected] $1,000 Reward (1923) Adam And Evil (1927) $30,000 (1920) Adele (1919) $5,000 Reward (1918) Adopted Son, The (1917) $5,000,000 Counterfeiting Plot, The (1914) Adorable Deceiver , The (1926) 1915 World's Championship Series (1915) Adorable Savage, The (1920) 2 Girls Wanted (1927) Adventure In Hearts, An (1919) 23 1/2 Hours' Leave (1919) Adventure Shop, The (1919) 30 Below Zero (1926) Adventure (1925) 39 East (1920) Adventurer, The (1917) 40-Horse Hawkins (1924) Adventurer, The (1920) 40th Door, The (1924) Adventurer, The (1928) 45 Calibre War (1929) Adventures Of A Boy Scout, The (1915) 813 (1920) Adventures Of Buffalo Bill, The (1917) Abandonment, The (1916) Adventures Of Carol, The (1917) Abie's Imported Bride (1925) Adventures Of Kathlyn, The (1916)
    [Show full text]
  • One Dead, in Bank 3 Hurt Robbery Three Persons Die
    :T.\- ■r*i:.-, . ^.- piM 11 AFSBACBB d a il y ’dBODLAIIOll ^ ......................................................................................................................................« .................................................. -A n m wmjkfitm:-.. fw the Meath ef Jaaaary, 1M4 ■ 1 ■ .A .A. .A I A ■ a a A ^ A A ^ ^ A A ^ 1 'VhcMMa ^ 'D .' A m 5,367 '■\ piMnhev of the Anfflt Fair toidght aad 8 a tv ^ . wlNh W ^ w W W W - . _ ••w • ^ - ‘ ^ ^ w ^ m y V ^ -t V B««aa ef drenlsttoM. Jewly tliiag teagpecatare VOL. U IL, NO. 105. ▲drcrtlctiic ob P a |« 14.) MANCHESTER, CONN., FRIDAY, FEBRUARY 2,1934. (SIXTEEN PAGES) PRICE THREE C B im ONE DEAD, 3 HURT Balbo Takes New Post In Tripoli As World Speculates BANK BANDITS THREE PERSONS DIE, STEAL $130,000 IN BANK ROBBERY A N D ® AWAY MANY ARE INJURED IS PoEconan Slam in Bay State NEW YORK FACES Ym Armed Thugs Held Dp IN STORM IN STATE Hold Up as $10,000 BIG TAXI STRIKE Two Employes Near Jer­ Fall Ranges from 'Seva ^ Is Stolen— Bandits Es­ JR DOLLAR’S WORTH I / sey Instiliitioii — Fifty Seventea Inches cape in Antes. Drivers Quit Work Today Cars in Pursuit. GOES UP; BONDS ways Quickly Cleared Needham, Mass., Feb. 2.—(AP)— Because Tax Money Is Not Pennsgrave, N. J., Feb. —(AP) STRONGJN N. Y. One policeman was slain, three Man and Girl KiDed by other men shot and $10,000 taken Retnmed to Them. —Four men stole $130,000 from two from the Needham Trust Company bank employes today as they were Aotos; Wanner Weather today by four bandits, two of them entering the Pennagrove National Bankhig Offices in London, armed with what bank employes de­ New York, Feb.
    [Show full text]
  • Caldwellde2009.Pdf (3.874Mb)
    University of Central Oklahoma Edmond, Oklahoma College of Graduate Studies & Research 144 A THESIS SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of MASTER OF ARTS IN ENGLISH By Dallas E. Caldwell Edmond, Oklahoma 2009 ABSTRACT NAME: Dallas E. Caldwell TITLE: 144 DIRECTOR OF THESIS: Dr. Wayne Stein PAGES: 192 ABSTRACT: 144 is a Fantasy Role-Playing Game (RPG) set in the world of Traespairnas. This world is filled with exotic peoples, mystical locations, and fearsome monsters. As a table-top RPG, the game is designed to be played with a group of friends with one person acting as the group’s Lore Master. Players will create their own heroes to take part in limitless adventures in this new world. Ten playable Races are available at the outset with several sub-sects diversifying choices even further. Many of the Races have strong mythological ties or present classic fantasy Races with a unique twist. While this volume does not present the entire population of the world, it gives a beginning look into the prominent Races along with their societal structures and cultural nuances. When creating a character, players will be able choose from three base Classes: Warrior, Specialist, and Mage. From this starting point, characters are strengthened by hundreds of Spells and Abilities. The specific nature of a character’s build is completely up to the player. They may spend Ability Points as they choose in order to make their character a distinctive and powerful hero. The game uses as its groundwork the Open Game License.
    [Show full text]