2017 ESRA Congress Programme

Total Page:16

File Type:pdf, Size:1020Kb

2017 ESRA Congress Programme 2017 ESRA Congress programme Shakespeare and European Theatrical Cultures: AnAtomizing Text and Stage 27 – 30 July 2017 Organisers: University of Gdańsk and Gdańsk Shakespeare Theatre I. PLENARY SPEAKERS 1. Peter Holland University of Notre Dame, USA "Forgetting Shakespeare Performance" This paper will range widely across the topic of Shakespeare and forgetting before concentrating on the ease with which performance is forgotten. Peter Holland is McMeel Family Professor in Shakespeare Studies in the Department of Film, Television and Theatre, and Associate Dean for the Arts at the University of Notre Dame. He moved there in 2002 from the UK where he was Director of the Shakespeare Institute in Stratford-upon-Avon. He is co-General Editor for a number of series, including Oxford Shakespeare Topics (Oxford University Press), Shakespeare in the Theatre (Arden Shakespeare), Great Shakespearean (Bloomsbury Academic) and the Arden Shakespeare 4th series. He is Editor of Shakespeare Survey. He was elected Chair of the International Shakespeare Association in 2017. He is currently editing King Lear for Arden 4 and writing a book on Shakespeare and Forgetting. 2. Diana E. Henderson Massachusetts Institute of Technology, USA "Hard Hearts and Coronets: Anatomizing Resistance and Community with Shakespeare Now" After a year of Shakespearean commemorative celebrations, “the fierce urgency of now” has intruded upon scholarly pursuits and theatrical events in more incongruous ways. In the US, making Shakespeare our contemporary has led to death threats directed at that (seemingly) most benign of theatrical subgenres, the outdoor summer festival. In Europe, the uncertainty unleashed by the Brexit referendum challenges border crossings and collaborations, while the core issues of violence and inequity that have prompted mass migrations grow ever more grotesque; at the same time, remarkable performances and conferences provide precious, fragile occasions for considering what boundary-crossing Shakespeares can do. Both celebrating and resisting comedy as a genre and humor as a nationalized fiction, this talk reflects upon the recent Merchant in Venice project and a classic Ealing Studio film to examine the errant, timely potential of the outsider, the literary, and the academic observer. Diana E. Henderson, Professor of Literature and MacVicar Faculty Fellow at MIT, is the author of Collaborations with the Past: Reshaping Shakespeare Across Time and Media, Passion Made Public: Elizabethan Lyric, Gender, and Performance, and many scholarly essays. She edited Routledge’s Alternative Shakespeares 3 and Blackwell’s Concise Companion to Shakespeare on Screen, and (with James R. Siemon) is co-editor of the annual Shakespeare Studies. Henderson served as President of the Shakespeare Association of America in 2014, and has worked as a dramaturg and professional theatrical consultant in the US and Europe. She is currently involved in both online and performance projects, including MIT's Global Shakespeares curricular and archival initiatives and an aligned MITx module drawing on The Merchant in Venice project. 3. Małgorzata Grzegorzewska University of Warsaw, Poland “Shakespeare's curtain. The stage revealed or the stage re-veiled?” In their reflections concerning the phenomenology of perception, contemporary philosophers stress the difference between being witness to the “extravagant rhapsody” of the visible (J.-L. Marion) and the purposefulness of looking which involves “concentrating diffuse visibility” (M. Merleau-Ponty). In traditional, classic realist theatre our perception is controlled by the curtain which rises at the beginning and is lowered at the end of the performance (or of each act). In early modern plays, on the other hand, the audience was frequently reminded of the “extravagant rhapsody” of the casually visible, for instance when they saw the shape-shifting clouds floating over their heads during performances in open-air theatres. Shakespeare, however, also made ample use of a kind of curtain: the traverse or hangings which allowed him to separate the action displayed on the stage from that which – at least for the time being – had to remain hidden and secret. In The Winter’s Tale, for example, the curtain concealing the statue of Hermione statue brings to mind the veil which covered the face of Alcestis raised from the dead at the end of Euripides’s play. It may thus add to the mystery enveloping her apparent resurrection. The use of a space of concealment/discovery not only enhances the dramatic effect, but opens theatre to the incandescence of that which remains partly (or temporarily) out of sight. In my paper, I will try to analyse the interplay of concealment and discovery in contemporary performances of Shakespeare’s plays. In other words, I wish to show how the phenomenology of the (in)visible gives way to the metaphysics of the revealed in contemporary theatre. Małgorzata Grzegorzewska is Professor of British Literature and current Head of the Institute of English Studies at the University of Warsaw. She has published extensively on William Shakespeare, English drama and poetry of the 16th and 17th century. Her first book, Medicine of Cherries. English Renaissance Theories of Poetry (Institute of English Studies UW, 2005), dealt with the impact of the Reformation on English Renaissance poetics. Her most recent books include a study of George Herbert’s poetry viewed through the prism of Jean-Luc Marion’s philosophy of donation (A Gift for Our Times. George Herbert and Post-Phenomenology, Peter Lang 2016); and a collection of meditations on the interplay of divine Word and literature: Światłocienie. Osiem odsłon Słowa w literaturze brytyjskiej od Hopkinsa do Hughesa [Literary Chiaroscuro. Eight Glimpses of the Word in British Literature from Hopkins to Hughes, Homini, forthcoming]. She has also co-edited (with Jean Ward and Mark Burrows) two volumes of essays devoted to the intersections of poetry and theology: Breaking the Silence (Peter Lang 2015) and Poetic Revelations (Routledge 2016). Her main areas of interest include the connections between literature, philosophy and theology (in her research she focuses on the existentialist thought of Søren Kierkegaard, René Girard’s theory of mimetic rivalry and Jean-Luc Marion’s philosophy of donation). Together with Abbot Szymon Hiżycki OSB she convenes a cycle of workshops Poetry and Meditation in the Benedictine Monastery of Tyniec. II. PANELS PANEL 1: “Shakespearean hybridities: Appropriations, gestures, alternative realities” Convener: Martin Procházka, Charles University, Czech Republic In his “Foreword” to the volume Philosophical Shakespeares (2000), Stanley Cavell points to Shakespeare’s “appropriability” as a potential explanation for his uniqueness. For Cavell, “the idea of appropriability is not meant to prejudge the degree to which lines, scenes, plays may resist certain appropriations less or more than others;” instead, it helps in “assessing cultural position.”1 The papers in this panel discuss Shakespeare not as an inherent attribute of any text or production but as a marker of “appropriability” resulting from a cultural consensus in every age. Through the lens of the theoretical concept of hybridity, the proposed panel offers innovative contributions to our ongoing deliberations about author Shakespeare and his works. These contributions understand hybridity both ontologically, since no unmediated, authentic presence of Shakespeare’s works exists, as well as performatively, since these works function as “interfaces” facilitating cultural communication. Our contributions draw on recent works such as Shakespeare and the Ethics of Appropriation2 and recent articles in the Journal Borrowers and Lenders and Multicultural Shakespeares,3 but our proposed panel will argue that the potentiality of Shakespeare’s appropriations arises in the structural openness of Shakespeare’s works, whereas ethical implications are secondary, referring only to the impact of individual appropriations. Panellists: 1. Márkus Zoltán, Vassar College, USA “The (Un)timeliness of Shakespeare’s Hybridity” With the aid of a specific (or idiosyncratic) understanding of the concept of appropriation that suggests appropriations are reciprocal manoeuvers of hybridization that negotiate and construct both their subjects and their objects at the same time, this contribution investigates Shakespeare as a cultural hybrid produced in various historical and cultural contexts. This paper accepts the view that Shakespeare’s works have no immediate, unmediated authentic presence; they are always already displaced. At the same time, it proposes that temporal 1 Stanley Cavell, “Foreword,” Philosophical Shakespeares, ed. John J. Joughin (London and New York: Routledge, 2000) xiii. 2 Ed. Alexa Huang and Elizabeth Rivlin (Basingstoke and New York: Palgrave Macmillan 2014). 3 http://www.borrowers.uga.edu/, ISSN 1554-6985. Gen. Eds. Christy Desmet and Sujata Iyengar, University of Georgia; http://www.degruyter.com/view/j/mstap, ISSN 2300-7605. Eds-in-Chief Krystyna Kujawińska- Courtney and Yoshiko Kawachi. University of Łódż. dimensions of Shakespearean appropriations remain crucial: the “originality” of Shakespeare’s plays rests in the (ongoing) history of these appropriations. In this sense, Shakespeare’s originality is not an inherent feature of his plays but a retroactive and relational outcome of appropriating Shakespeare. By drawing on current philosophical debates about perdurantism versus endurantism as well
Recommended publications
  • Mozartin Figaron Häät – Maailman Paras Oopperako?
    Marjut Haussila MOZARTIN FIGARON HÄÄT: MAAILMAN PARAS OOPPERAKO? Savonlinnan kirjastossa to 16.7.2015 Le Nozze di Figaro M. Haussila Savonlinnan kirjasto 16.7.2015 Riitta-Liisa Lempinen-Vesa kommentoi oopperajuhlia Itä-Savossa 3.7.2015: Sama kunnianhimo ja laadun ajatus saattaa levitä myös ympäröivään toimintaan. Luovuuden ilmapiiri ja korkean tason sisäinen vaatimus leviävät arkielämäänkin kuin huomaamatta. Niistä saa eväitä, joilla kaupunki voi pärjätä ympäri vuoden, lamankin keskellä. Le Nozze di Figaro M. Haussila Savonlinnan kirjasto 16.7.2015 Matti Salminen Musorgski-projektista Savonlinna Opera Festival 2015 -julkaisussa: Tämä on valtava draama, se pitää uskaltaa tehdä kunnolla eikä säämiskähansikkain. Le Nozze di Figaro M. Haussila Savonlinnan kirjasto 16.7.2015 Laadun kriteerejä, jotka liittyvät eri tavoin teokseen: •kokemus ja viisaus •tuore näkökulma ja osaaminen -> erilaisuus -> kriittisyys, luova ote ja tiimityö Luovuus -> luova teko, tuotos tai teos -> uusi idea, esine tai palvelu tai toimintatapa •design •immateriaalinen luovuus •rikkoa, hämmentää, sekoittaa, ‘jazzin’n’jammin’ Le Nozze di Figaro M. Haussila Savonlinnan kirjasto 16.7.2015 Aivotutkija Riitta Hari kirjassa Kaikki evoluutiosta (2009): •homo sapiens syntyi 100 000- 200 000 vuotta sitten •aivojen koko jo pitkään vastaava kuin nykyihmisillä lajin levitessä Afrikasta 60 000 vuotta sitten •kognitiivinen kapasiteetti alkoi kehittyä nopeasti noin 10 000 vuotta sitten •maanviljelys alkoi tuolloin ja esineet ja materiaalit tärkeämmiksi Hari kysyy, oliko syynä geenimutaatio
    [Show full text]
  • 15 2016 F O U R C E N T U R I
    F O U R C E N T U R I E S Russian Poetry in Translation 15 2016 Four Centuries. Russian Poetry in Translation [email protected] Copyright © 2016 by Dr. Ilya Perelmuter, Publisher All rights to translations and materials published in this magazine are retained by the individual translators and authors. No part of this magazine may be reproduced, copied, transmitted, distributed or otherwise used without the prior permission of the Publisher. This magazine as a whole can be sent indissolubly per e-mail as a pdf file. Commercial distribution is not allowed. This magazine should be cited as follows: Four Centuries. Russian Poetry in Translation. Essen: Perelmuter Verlag, 2016, Nr. 15 Все права на переводы и другие материалы, опубликованные в этом журнале, в полном объёме сохраняются за отдельными переводчиками и авторами. Журнал защищён авторским правом в совокупности всех его частей и в полном объёме. Любые типы копирования, перепечатки, распространения, публикации его отдельных частей без согласия издателя не разрешаются. Журнал может быть послан по электронной почте с сохранением его целостности в формате pdf. Журнал без нарушения его целостности может быть включён в электронную библиотеку с уведомлением об этом издателя. Коммерческое распространение журнала запрещено. Цитирование материалов журнала обязательно в следующей форме: Four Centuries. Russian Poetry in Translation. Essen: Perelmuter Verlag, 2016, Nr. 15 ACKNOWLEDGEMENTS I am very grateful to the poets: David Shrayer-Petrov, Felix Chechik, Anna Glazova, Sergej Shestakov, Andrej Sen-Senkov, and Vera Polozkova for their kind permissions to publish their poems in translation in this issue of the magazine. Publisher Perelmuter Verlag, Dr. Ilya Perelmuter, Publisher Erikapfad 7, 45133 Essen, Germany www.perelmuterverlag.de, [email protected] C O N T E N T S Letter from the Publisher 4 XIX Konstantin Batyushkov Константин Батюшков To Dashkov 5 К Д<ашко>ву 5 Konstantin Aksakov Константин Аксаков To Sophie 8 Софье 8 Dmitry Minayev Дмитрий Минаев From the Cycle "Motifs of the Russian Poets".
    [Show full text]
  • William Shakespeare Re Lear
    William Shakespeare Re Lear www.liberliber.it 1 Questo e-book è stato realizzato anche grazie al sostegno di: E-text Editoria, Web design, Multimedia http://www.e-text.it/ QUESTO E-BOOK: TITOLO: Re Lear AUTORE: William Shakespeare TRADUTTORE: Goffredo Raponi CURATORE: Peter Alexander NOTE: si ringrazia il Prof. Goffredo Raponi per averci concesso il diritto di pubblicazione. Questo testo è stato realizzato in collaborazione con l'associazione "Festina Lente C.I.R.S.A.". DIRITTI D'AUTORE: sì LICENZA: questo testo è distribuito con la licenza specificata al seguente indirizzo Internet: http://www.liberliber.it/biblioteca/licenze/ TRATTO DA: traduzione originale da "William Shakespeare - The Complete Works", di William Shakespeare edizione curata dal prof. Peter Alexander Collins, London & Glasgow, 1951/60 Pagg. XXXII, 1370 CODICE ISBN: informazione non disponibile 1a EDIZIONE ELETTRONICA DEL: 29 dicembre 2000 INDICE DI AFFIDABILITA': 3 0: affidabilità bassa 1: affidabilità media 2: affidabilità buona 3: affidabilità ottima ALLA EDIZIONE ELETTRONICA HANNO CONTRIBUITO: Goffredo Raponi, [email protected] REVISIONE: Claudio Paganelli, [email protected] Catia Righi, [email protected] PUBBLICATO DA: Maria Mataluno, [email protected] Informazioni sul "progetto Manuzio" Il "progetto Manuzio" è una iniziativa dell'associazione culturale Liber Liber. Aperto a chiunque voglia collaborare, si pone come scopo la pubblicazione e la diffusione gratuita di opere letterarie in formato elettronico. Ulteriori informazioni sono disponibili sul sito Internet: http://www.liberliber.it/ Aiuta anche tu il "progetto Manuzio" Se questo "libro elettronico" è stato di tuo gradimento, o se condividi le finalità del "progetto Manuzio", invia una donazione a Liber Liber.
    [Show full text]
  • ACP Cultural Component of Citizenship
    the CULTURAL COMPONENT of CITIZENSHIP an inventory of challenges The European House for Culture on behalf of the Access to Culture Platform has been funded with the support from the European Commission. This communication reflects the views only of the authors, and the Commission cannot be held responsible for any use which may be made of the information contained therein. The Access to Culture Platform is hosted at the European House for Culture. 1 the cultural component of citizenship : an inventory of challenges Table of Contents INTRODUCTION 5 The Cultural Component of Citizenship: an Inventory of Challenges ............... 6 Steve Austen European Citizenship and the Role of Art and Culture .................................. 10 Mary Ann DeVlieg Citizenship and Culture .................................................................................. 28 DEFINING THE CULTURAL COMPONENT OF CITIZENSHIP 37 Mathieu Kroon Gutiérrez Europe and the Challenge of Virtuous Citizenship. What is the Role of Culture? ....................................................................................................................... 38 HOW IS CULTURAL CITIZENSHIP PRACTICED? 53 Matina Magkou Geographies of Artistic Mobility for the Formation and Confirmation of European Cultural Citizenship. ...................................................................... 54 Natalia Grincheva “Canada’s Got Treasures” Constructing National Identity through Cultural Participation .................................................................................................
    [Show full text]
  • Dunkel Ist Die Nacht, Rigoletto!
    DUNKEL IST DIE NACHT, RIGOLETTO! Musiktheater nach Verdi, Shakespeare und Hugo URAUFFÜHRUNG DUNKEL IST DIE NACHT, RIGOLETTO! MUSIKTHEATER NACH VERDI, SHAKESPEARE UND HUGO Musik von Giuseppe Verdi // Musikalische Bearbeitung und Neukompositionen von Michael Wilhelmi // Kompositorische Mitarbeit und Instrumentierung von Florian Bergmann // Libretto von Francesco Maria Piave // Texte von Victor Hugo und William Shakespeare // Bearbeitung und Fassung von Nadja Loschky und Anne Christine Oppermann // In italienischer und deutscher Sprache mit Übertiteln Schlussstück Rigoletto ................................................................Evgueniy Alexiev, Stefan Imholz Der Tod ist groß. Gilda ............................................................................................Veronika Lee Wir sind die Seinen Duca .....................................................................................Christopher Basile lachenden Munds. Sparafucile .................................................................................Moon Soo Park Wenn wir uns mitten Borsa ...............................................................................................Lorin Wey im Leben meinen, Marullo........................................................................................Caio Monteiro wagt er zu weinen Ceprano .........................................................................................Bojan Heyn mitten in uns. Akkordeon .....................................................................................Valentin Butt
    [Show full text]
  • Cambridge Companion Shakespeare on Film
    This page intentionally left blank Film adaptations of Shakespeare’s plays are increasingly popular and now figure prominently in the study of his work and its reception. This lively Companion is a collection of critical and historical essays on the films adapted from, and inspired by, Shakespeare’s plays. An international team of leading scholars discuss Shakespearean films from a variety of perspectives:as works of art in their own right; as products of the international movie industry; in terms of cinematic and theatrical genres; and as the work of particular directors from Laurence Olivier and Orson Welles to Franco Zeffirelli and Kenneth Branagh. They also consider specific issues such as the portrayal of Shakespeare’s women and the supernatural. The emphasis is on feature films for cinema, rather than television, with strong cov- erage of Hamlet, Richard III, Macbeth, King Lear and Romeo and Juliet. A guide to further reading and a useful filmography are also provided. Russell Jackson is Reader in Shakespeare Studies and Deputy Director of the Shakespeare Institute, University of Birmingham. He has worked as a textual adviser on several feature films including Shakespeare in Love and Kenneth Branagh’s Henry V, Much Ado About Nothing, Hamlet and Love’s Labour’s Lost. He is co-editor of Shakespeare: An Illustrated Stage History (1996) and two volumes in the Players of Shakespeare series. He has also edited Oscar Wilde’s plays. THE CAMBRIDGE COMPANION TO SHAKESPEARE ON FILM CAMBRIDGE COMPANIONS TO LITERATURE The Cambridge Companion to Old English The Cambridge Companion to William Literature Faulkner edited by Malcolm Godden and Michael edited by Philip M.
    [Show full text]
  • Die Premieren Von August Bis Februar*
    fotografiert von Ute Mahler und Werner Mahler Die Premieren von August bis Februar* 2014/15 * with English summaries Die Zeit There ist aus den is no Fugen Carolin Emcke und Thomas Ostermeier im Gespräch Wie lässt sich von Krieg und Gewalt erzählen? Gibt es dabei Grenzen des Verstehens? Ist es nicht nur möglich, sondern auch nötig, vom Leid anderer zu erzählen? Diesen Fragen geht Carolin Emcke in ihrem neuesten Buch »Weil es sagbar ist. Über Zeugenschaft und Gerechtigkeit« nach. Ihre Essays sind der Ausgangspunkt für ein Gespräch mit dem Künstlerischen Leiter der Schaubühne, Thomas need Ostermeier, über den Einbruch der Wirklichkeit in die Fiktion, blinde Flecken in Theater und Journa- lismus, tabuisierte gesellschaftliche Konflikte und die Möglichkeit, die Welt erzählend zu verändern. Carolin Emcke ist freie Publizistin und als Reporterin häufig in Krisengebieten unterwegs. Ihre jour- nalistische Arbeit wurde mit zahlreichen Preisen ausgezeichnet. Seit 2004 kuratiert und moderiert sie die monatliche Diskussionsreihe »Streitraum« an der Schaubühne. TO: Bei der Lektüre deines letzten Buches »Weil es am Ende des Stücks mit dem Gift umbringen, an dem bereits sagbar ist«, kamen mir drei Assoziationen in den Sinn. Die Hamlet und seine Mutter und alle anderen gestorben sind. Da erste war das Stück »Zerbombt«. Darin zeigt Sarah Kane eine sagt Hamlet voller Verzweiflung: Du darfst dich nicht umbringen. Paarbeziehung zwischen einem Journalisten und einer jungen Du musst doch meine Geschichte erzählen. Das ist gewisserma- Frau, die offenbar minderjährig ist, noch dazu etwas sprachbe- ßen die einzige Hoffnung, die hier bei Shakespeare bleibt. to be hindert, und von diesem Journalisten missbraucht wird. Damals Das Dritte, was mir einfiel, war »Die Perser« von Aischylos.
    [Show full text]
  • Shakespeare and European Theatrical Cultures: Anatomizing Text and Stage
    2017 ESRA Congress programme Shakespeare and European Theatrical Cultures: AnAtomizing Text and Stage 27 – 30 July 2017 Organisers: University of Gdańsk and Gdańsk Shakespeare Theatre I. PLENARY SPEAKERS 1. Peter Holland University of Notre Dame, USA "Forgetting Shakespeare Performance" This paper will range widely across the topic of Shakespeare and forgetting before concentrating on the ease with which performance is forgotten. Peter Holland is McMeel Family Professor in Shakespeare Studies in the Department of Film, Television and Theatre, and Associate Dean for the Arts at the University of Notre Dame. He moved there in 2002 from the UK where he was Director of the Shakespeare Institute in Stratford-upon-Avon. He is co-General Editor for a number of series, including Oxford Shakespeare Topics (Oxford University Press), Shakespeare in the Theatre (Arden Shakespeare), Great Shakespearean (Bloomsbury Academic) and the Arden Shakespeare 4th series. He is Editor of Shakespeare Survey. He was elected Chair of the International Shakespeare Association in 2017. He is currently editing King Lear for Arden 4 and writing a book on Shakespeare and Forgetting. 2. Diana E. Henderson Massachusetts Institute of Technology, USA "Hard Hearts and Coronets: Anatomizing Resistance and Community with Shakespeare Now" After a year of Shakespearean commemorative celebrations, “the fierce urgency of now” has intruded upon scholarly pursuits and theatrical events in more incongruous ways. In the US, making Shakespeare our contemporary has led to death threats directed at that (seemingly) most benign of theatrical subgenres, the outdoor summer festival. In Europe, the uncertainty unleashed by the Brexit referendum challenges border crossings and collaborations, while the core issues of violence and inequity that have prompted mass migrations grow ever more grotesque; at the same time, remarkable performances and conferences provide precious, fragile occasions for considering what boundary-crossing Shakespeares can do.
    [Show full text]
  • Poetry Sampler
    POETRY SAMPLER 2020 www.academicstudiespress.com CONTENTS Voices of Jewish-Russian Literature: An Anthology Edited by Maxim D. Shrayer New York Elegies: Ukrainian Poems on the City Edited by Ostap Kin Words for War: New Poems from Ukraine Edited by Oksana Maksymchuk & Max Rosochinsky The White Chalk of Days: The Contemporary Ukrainian Literature Series Anthology Compiled and edited by Mark Andryczyk www.academicstudiespress.com Voices of Jewish-Russian Literature An Anthology Edited, with Introductory Essays by Maxim D. Shrayer Table of Contents Acknowledgments xiv Note on Transliteration, Spelling of Names, and Dates xvi Note on How to Use This Anthology xviii General Introduction: The Legacy of Jewish-Russian Literature Maxim D. Shrayer xxi Early Voices: 1800s–1850s 1 Editor’s Introduction 1 Leyba Nevakhovich (1776–1831) 3 From Lament of the Daughter of Judah (1803) 5 Leon Mandelstam (1819–1889) 11 “The People” (1840) 13 Ruvim Kulisher (1828–1896) 16 From An Answer to the Slav (1849; pub. 1911) 18 Osip Rabinovich (1817–1869) 24 From The Penal Recruit (1859) 26 Seething Times: 1860s–1880s 37 Editor’s Introduction 37 Lev Levanda (1835–1888) 39 From Seething Times (1860s; pub. 1871–73) 42 Grigory Bogrov (1825–1885) 57 “Childhood Sufferings” from Notes of a Jew (1863; pub. 1871–73) 59 vi Table of Contents Rashel Khin (1861–1928) 70 From The Misfit (1881) 72 Semyon Nadson (1862–1887) 77 From “The Woman” (1883) 79 “I grew up shunning you, O most degraded nation . .” (1885) 80 On the Eve: 1890s–1910s 81 Editor’s Introduction 81 Ben-Ami (1854–1932) 84 Preface to Collected Stories and Sketches (1898) 86 David Aizman (1869–1922) 90 “The Countrymen” (1902) 92 Semyon Yushkevich (1868–1927) 113 From The Jews (1903) 115 Vladimir Jabotinsky (1880–1940) 124 “In Memory of Herzl” (1904) 126 Sasha Cherny (1880–1932) 130 “The Jewish Question” (1909) 132 “Judeophobes” (1909) 133 S.
    [Show full text]
  • Deepa Mehta (See More on Page 53)
    table of contents TABLE OF CONTENTS Introduction Experimental Cinema: Welcome to the Festival 3 Celluloid 166 The Film Society 14 Pixels 167 Meet the Programmers 44 Beyond the Frame 167 Membership 19 Annual Fund 21 Letters 23 Short Films Ticket and Box Offce Info 26 Childish Shorts 165 Sponsors 29 Shorts Programs 168 Community Partners 32 Music Videos 175 Consulate and Community Support 32 Shorts Before Features 177 MSPFilm Education Credits About 34 Staff 179 Youth Events 35 Advisory Groups and Volunteers 180 Youth Juries 36 Acknowledgements 181 Panel Discussions 38 Film Society Members 182 Off-Screen Indexes Galas, Parties & Events 40 Schedule Grid 5 Ticket Stub Deals 43 Title Index 186 Origin Index 188 Special Programs Voices Index 190 Spotlight on the World: inFLUX 47 Shorts Index 193 Women and Film 49 Venue Maps 194 LGBTQ Currents 51 Tribute 53 Emerging Filmmaker Competition 55 Documentary Competition 57 Minnesota Made Competition 61 Shorts Competition 59 facebook.com/mspflmsociety Film Programs Special Presentations 63 @mspflmsociety Asian Frontiers 72 #MSPIFF Cine Latino 80 Images of Africa 88 Midnight Sun 92 youtube.com/mspflmfestival Documentaries 98 World Cinema 126 New American Visions 152 Dark Out 156 Childish Films 160 2 welcome FILM SOCIETY EXECUTIVE DIRECTOR’S WELCOME Dear Festival-goers… This year, the Minneapolis St. Paul International Film Festival celebrates its 35th anniversary, making it one of the longest-running festivals in the country. On this occasion, we are particularly proud to be able to say that because of your growing interest and support, our Festival, one of this community’s most anticipated annual events and outstanding treasures, continues to gain momentum, develop, expand and thrive… Over 35 years, while retaining a unique flavor and core mission to bring you the best in international independent cinema, our Festival has evolved from a Eurocentric to a global perspective, presenting an ever-broadening spectrum of new and notable film that would not otherwise be seen in the region.
    [Show full text]
  • FILM FESTIVAL 22Nd - 29Th November 2012
    UNDER THE AUSPICES OF THE EMBASSY OF THE REPUBLIC OF SERBIA IN PRETORIA SERBIAN ARTS AND CULTURE SOCIETY AFRICA SERBIAN FILM FESTIVAL 22nd - 29th November 2012 NU METRO, MONTECASINO An author’s perspective of the world Film, as a sublimation of all arts, is a true medium, a universal vehicle with which the broader public is presented with a world view, as seen by the eye of the fi lmmaker. Nowadays, due to the global economic crisis, which is ironically producing technological and all sorts of other develop- ments, an increasing number of people are pushed to the margins of average standards of living, and fi lmmakers are given the chance to bring under their ‘protection’ millions of disillusioned people with their fi lmmaking capabilities. Art, throughout its history, has always praised but has also been heavily critical of its subject. Film is not just that. Film is that and so much more. Film is life itself and beyond life. Film is everything many of us dream about but never dare to say out loud. That is why people love fi lms. That is why it is eternal. It tears down boundaries and brings together cul- tures. It awakens curiosity and builds bridges from one far away coast to another. Film is a ‘great lie’ but an even greater truth. Yugoslavian, and today the Serbian fi lm industry has always been ‘in trend’. It might sound harsh but, unfortunately, this region has always provided ample ‘material’ for fi lms. Under our Balkan clouds there has been an ongoing battle about which people are older, which came and settled fi rst, who started it and who will be fi rst to leave and such battles have been and continue to be an inspiration to fi lm producers.
    [Show full text]
  • Croatian Film Catalogue 2015 Katalog Hrvatskog Filma 2015 Sadržaj Contents
    Croatian Film Catalogue 2015 Katalog hrvatskog filma 2015 Sadržaj Contents Dugometražni igrani film – Feature Film Bit ćemo prvaci svijeta · Bićemo prvaci sveta · We Will Be the World Champions · Darko Bajić · 10 Imena višnje · Ungiven · Branko Schmidt ·11 Lazar · Svetozar Ristovski ·12 Memoari slomljenog uma · Memoirs of a Broken Mind · Danilo Lola Ilić ·13 Narodni heroj Ljiljan Vidić · Shooting Stars · Ivan-Goran Vitez ·14 Naša svakodnevna priča · Our Everyday Life · Ines Tanović · 15 Puni udar · Full Contact · David Verbeek · 16 Sirene i krikovi · Sirens and Screams · Ivan Perić · 17 Svinjari · The Enchanting Porkers · Ivan Livaković · 18 Ti mene nosiš · You Carry Me · Ivona Juka · 19 Trema · Interruption · Yorgos Zios · 20 Vrapci · Þrestir · Sparows · Rúnar Rúnnarson · 21 Zagrebačke priče vol. 3 · Zagreb Stories Vol. 3 · Ivan Salaj, Pero Orešković, Matija Vukšić, Vlatka Vorkapić, Danilo Šerbedžija, Radislav Jovanov Gonzo · 22 Zvizdan · The High Sun · Dalibor Matanić · 25 Život je truba · Life Is a Trumpet · Antonio Nuić · 26 Kratkometražni igrani film – Short Fiction Film Bakina unuka · Granddaughter ·Tomislav Šestan · 28 Belladonna · Dubravka Turić · 29 Crne mačke · Black Cats · Marko Turčinov · 30 Cvijeće · Flowers · Judita Gamulin · 31 Da je kuća dobra i vuk bi je imao · No Wolf Has a House · Hana Jušić · 32 Daddy Issues · Judita Gamulin · 33 Dan Marjana · Marjan Hill Day · Igor Jelinović · 34 Dobro sam, vidimo se · An Awful Pair of Shoes and a Funeral · Luka Čurčić · 35 Doručak · Le petit déjeuner · Breakfast · Salvatore Li Causi
    [Show full text]