Fall | Winter 2017 OKLAHOMA HUMANITIES Culture | Issues | Ideas
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RESUME [V6.0].Cwk
Robert Charles Doyle 1317 Ridge Avenue Steubenville, Ohio 43952 Phone: (740) 282-8156 [email protected] Education Ph. D Bowling Green State University, American Culture Studies, 1987. M. A. Pennsylvania State University, Comparative Literature, 1976. B. A. Pennsylvania State University, Liberal Arts, German, 1967. Present Academic Employment (2001 - present) Professor, United States History, Department of History, Franciscan University of Steubenville, Steubenville, Ohio, 2007 to the present. Previous Academic Employment (1974 - 2001) Associate Professor, United States History, Department of History, Franciscan University of Steubenville, Steubenville, Ohio, 2001-2007 Instructor, United States History, Department of History, Franciscan University of Steubenville, Steubenville, Ohio, 2000-2001. Professeur and Maître de Conferences (Professor and Visiting Associate Professor), American Civilization, Département d’Etudes Anglaises et Nord-Américaines, Université Strasbourg, France, 1995-1998. Instructor (Part-Time), American Civilization, Department of Foreign Languages, Université Robert Schuman, Strasbourg, France, 1996-1997. Professor (Fulbright), American Studies, Englisches Seminar, Westfälische Wilhelms-Universität, Münster, Germany, 1994-1995. Lecturer, American Studies, Department of English, Penn State University, University Park, 1988-1994. Lecturer (Part-Time), American Studies, Division of Continuing Education, Penn State University, University Park and Abington Campus, 1987-1988. Graduate Fellow (Teaching, 1984-86; Non-Service, 1986-1987), American Culture Doctoral Program, Bowling Green State University, Bowling Green, Ohio, 1984-1987. Lecturer (Part-Time), American Studies, Division of Continuing Education, Penn State University, University Park, 1974-1977. Technical Adviser/Consultant Historical and Technical Advisor. Hart’s War. Dir. Gregory Hoblit, with Bruce Willis. MGM/UA (Warhart Productions), 2000-2001. Historical and Applied Research Consultant, Joint Personnel Recovery Agency (USAF), Ft. Belvoir, Virginia, 1998-2000. -
The Global Visual Memory a Study of the Recognition and Interpretation of Iconic and Historical Photographs
The Global Visual Memory A Study of the Recognition and Interpretation of Iconic and Historical Photographs Het Mondiaal Visueel Geheugen Een studie naar de herkenning en interpretatie van iconische en historische foto’s (met een samenvatting in het Nederlands) Proefschrift ter verkrijging van de graad van doctor aan de Universiteit Utrecht op gezag van de rector magnificus, prof.dr. H.R.B.M. Kummeling, ingevolge het besluit van het college voor promoties in het openbaar te verdedigen op woensdag 19 juni 2019 des middags te 2.30 uur door Rutger van der Hoeven geboren op 4 juni 1974 te Amsterdam Promotor: Prof. dr. J. Van Eijnatten Table of Contents Abstract 2 Preface 3 Introduction 5 Objectives 8 Visual History 9 Collective Memory 13 Photographs as vehicles of cultural memory 18 Dissertation structure 19 Chapter 1. History, Memory and Photography 21 1.1 Starting Points: Problems in Academic Literature on History, Memory and Photography 21 1.2 The Memory Function of Historical Photographs 28 1.3 Iconic Photographs 35 Chapter 2. The Global Visual Memory: An International Survey 50 2.1 Research Objectives 50 2.2 Selection 53 2.3 Survey Questions 57 2.4 The Photographs 59 Chapter 3. The Global Visual Memory Survey: A Quantitative Analysis 101 3.1 The Dataset 101 3.2 The Global Visual Memory: A Proven Reality 105 3.3 The Recognition of Iconic and Historical Photographs: General Conclusions 110 3.4 Conclusions About Age, Nationality, and Other Demographic Factors 119 3.5 Emotional Impact of Iconic and Historical Photographs 131 3.6 Rating the Importance of Iconic and Historical Photographs 140 3.7 Combined statistics 145 Chapter 4. -
The Pulitzer Prizes for International Reporting in the Third Phase of Their Development, 1963-1977
INTRODUCTION THE PULITZER PRIZES FOR INTERNATIONAL REPORTING IN THE THIRD PHASE OF THEIR DEVELOPMENT, 1963-1977 Heinz-Dietrich Fischer The rivalry between the U.S.A. and the U.S.S.R. having shifted, in part, to predomi- nance in the fields of space-travel and satellites in the upcoming space age, thus opening a new dimension in the Cold War,1 there were still existing other controversial issues in policy and journalism. "While the colorful space competition held the forefront of public atten- tion," Hohenberg remarks, "the trained diplomatic correspondents of the major newspa- pers and wire services in the West carried on almost alone the difficult and unpopular East- West negotiations to achieve atomic control and regulation and reduction of armaments. The public seemed to want to ignore the hard fact that rockets capable of boosting people into orbit for prolonged periods could also deliver atomic warheads to any part of the earth. It continued, therefore, to be the task of the responsible press to assign competent and highly trained correspondents to this forbidding subject. They did not have the glamor of TV or the excitement of a space shot to focus public attention on their work. Theirs was the responsibility of obliging editors to publish material that was complicated and not at all easy for an indifferent public to grasp. It had to be done by abandoning the familiar cliches of journalism in favor of the care and the art of the superior historian .. On such an assignment, no correspondent was a 'foreign' correspondent. The term was outdated. -
STUDY GUIDE Prepared by Maren Robinson, Dramaturg
by Susan Felder directed by William Brown STUDY GUIDE Prepared by Maren Robinson, Dramaturg This Study Guide for Wasteland was prepared by Maren Robinson and edited by Kerri Hunt and Lara Goetsch for TimeLine Theatre, its patrons and educational outreach. Please request permission to use these materials for any subsequent production. © TimeLine Theatre 2012 — STUDY GUIDE — Table of Contents About the Playwright ........................................................................................ 3 About the Play ................................................................................................... 3 The Interview: Susan Felder ............................................................................ 4 Glossary ............................................................................................................ 11 Timeline: The Vietnam War and Surrounding Historical Events ................ 13 The History: Views on Vietnam ...................................................................... 19 The Context: A New Kind of War and a Nation Divided .............................. 23 Prisoners of War and Torture ......................................................................... 23 Voices of Prisoners of War ............................................................................... 24 POW Code of Conduct ..................................................................................... 27 Enlisted vs. Drafted Soldiers .......................................................................... 28 The American -
The Legacy of American Photojournalism in Ken Burns's
Interfaces Image Texte Language 41 | 2019 Images / Memories The Legacy of American Photojournalism in Ken Burns’s Vietnam War Documentary Series Camille Rouquet Electronic version URL: http://journals.openedition.org/interfaces/647 DOI: 10.4000/interfaces.647 ISSN: 2647-6754 Publisher: Université de Bourgogne, Université de Paris, College of the Holy Cross Printed version Date of publication: 21 June 2019 Number of pages: 65-83 ISSN: 1164-6225 Electronic reference Camille Rouquet, “The Legacy of American Photojournalism in Ken Burns’s Vietnam War Documentary Series”, Interfaces [Online], 41 | 2019, Online since 21 June 2019, connection on 07 January 2021. URL: http://journals.openedition.org/interfaces/647 ; DOI: https://doi.org/10.4000/interfaces.647 Les contenus de la revue Interfaces sont mis à disposition selon les termes de la Licence Creative Commons Attribution 4.0 International. THE LEGACY OF AMERICAN PHOTOJOURNALISM IN KEN BURNS’S VIETNAM WAR DOCUMENTARY SERIES Camille Rouquet LARCA/Paris Sciences et Lettres In his review of The Vietnam War, the 18-hour-long documentary series directed by Ken Burns and Lynn Novick released in September 2017, New York Times television critic James Poniewozik wrote: “The Vietnam War” is not Mr. Burns’s most innovative film. Since the war was waged in the TV era, the filmmakers rely less exclusively on the trademark “Ken Burns effect” pans over still images. Since Vietnam was the “living-room war,” played out on the nightly news, this documentary doesn’t show us the fighting with new eyes, the way “The War” did with its unearthed archival World War II footage. -
Aa000343.Pdf (12.91Mb)
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Apocalypse Now, Vietnam and the Rhetoric of Influence Autor(Es): Childs, Jeffrey Publicado Por: Centro De Literatura Portuguesa
Apocalypse now, Vietnam and the rhetoric of influence Autor(es): Childs, Jeffrey Publicado por: Centro de Literatura Portuguesa URL persistente: URI:http://hdl.handle.net/10316.2/30048 DOI: DOI:http://dx.doi.org/10.14195/2182-8830_1-2_1 Accessed : 30-Sep-2021 22:18:52 A navegação consulta e descarregamento dos títulos inseridos nas Bibliotecas Digitais UC Digitalis, UC Pombalina e UC Impactum, pressupõem a aceitação plena e sem reservas dos Termos e Condições de Uso destas Bibliotecas Digitais, disponíveis em https://digitalis.uc.pt/pt-pt/termos. Conforme exposto nos referidos Termos e Condições de Uso, o descarregamento de títulos de acesso restrito requer uma licença válida de autorização devendo o utilizador aceder ao(s) documento(s) a partir de um endereço de IP da instituição detentora da supramencionada licença. Ao utilizador é apenas permitido o descarregamento para uso pessoal, pelo que o emprego do(s) título(s) descarregado(s) para outro fim, designadamente comercial, carece de autorização do respetivo autor ou editor da obra. Na medida em que todas as obras da UC Digitalis se encontram protegidas pelo Código do Direito de Autor e Direitos Conexos e demais legislação aplicável, toda a cópia, parcial ou total, deste documento, nos casos em que é legalmente admitida, deverá conter ou fazer-se acompanhar por este aviso. impactum.uc.pt digitalis.uc.pt Apocalypse Now, Vietnam and the Rhetoric of Influence JEFFREY CHILDS Universidade Aberta | Centro de Estudos Comparatistas, Univ. de Lisboa Abstract Readings of Francis Ford Coppola's Apocalypse Now (1979) often confront the difficulty of having to privilege either its aesthetic context (considering, for instance, its relation to Conrad's Heart of Darkness [1899] or to the history of cinema) or its value as a representation of the Vietnam War. -
Engaged Observers: Documentary Photography Since the Sixties
OBJECT LIST Engaged Observers: Documentary Photography since the Sixties At the J. Paul Getty Museum, the Getty Center June 29–November 14, 2010 1. Leonard Freed (American, 1929 - 2006) 5. Leonard Freed (American, 1929 - 2006) Demonstration, New York City, 1963 Georgia, 1965 Gelatin silver print Gelatin silver print Image: 25.9 x 35.4 cm (10 3/16 x 13 15/16 Image: 38.3 x 25.6 cm (15 1/16 x 10 1/16 in.) in.) Gift of Brigitte and Elke Susannah Freed. The Gift of Brigitte and Elke Susannah Freed. The J. Paul Getty Museum, Los Angeles, J. Paul Getty Museum, Los Angeles, 2008.59.3 2008.59.9 2. Leonard Freed (American, 1929 - 2006) 6. Leonard Freed (American, 1929 - 2006) March on Washington, Washington, D.C., Political Meeting, Harlem, 1963 August 28, 1963 Gelatin silver print Gelatin silver print Image: 33.2 x 25.2 cm (13 1/16 x 9 15/16 Image: 37.8 x 25.4 cm (14 7/8 x 10 in.) in.) Gift of Brigitte and Elke Susannah Freed. The The J. Paul Getty Museum, Los Angeles, J. Paul Getty Museum, Los Angeles, 2008.62.3 2008.59.4 7. Leonard Freed (American, 1929 - 2006) 3. Leonard Freed (American, 1929 - 2006) New York City, 1963 Johns Island, South Carolina, 1964 Gelatin silver print Gelatin silver print Image: 33.2 x 25.2 cm (13 1/16 x 9 15/16 Image: 25.7 x 34.9 cm (10 1/8 x 13 3/4 in.) in.) Gift of Brigitte and Elke Susannah Freed. -
Forty-Two Years and the Frequent Wind: Vietnamese Refugees in America
FORTY-TWO YEARS AND THE FREQUENT WIND: VIETNAMESE REFUGEES IN AMERICA Photography by Nick Ut Exhibition Curator: Randy Miller Irene Carlson Gallery of Photography August 28 through October 13, 2017 A reception for Mr. Ut will take place in the Irene Carlson Gallery of Photography, 5:00 – 6:00 p.m. Thursday, September 21, 2017 Nick Ut Irene Carlson Gallery of Photography FORTY-TWO YEARS AND THE FREQUENT WIND: August 28 – October 13, 2017 VIETNAMESE REFUGEES IN AMERICA About Nick Ut… The second youngest of 11 siblings, Huỳnh Công (Nick) Út, was born March 29, 1951, in the village of Long An in Vietnam’s Mekong Delta. He admired his older brother, Huynh Thanh My, who was a photographer for Associated Press, and who was reportedly obsessed with taking a picture that would stop the war. Huynh was hired by the AP and was on assignment in 1965 when he and a group of soldiers he was with were overrun by Viet Cong rebels who killed everyone. Three months after his brother’s funeral, Ut asked his brother’s editor, Horst Faas, for a job. Faas was reluctant to hire the 15-year-old, suggesting he go to school, go home. “AP is my home now,” Ut replied. Faas ultimately relented, hiring him to process film, make prints, and keep the facility clean. But Ut wanted to do more, and soon began photographing around the streets of Saigon. "Then, all of a sudden, in 1968, [the Tet Offensive] breaks out," recalls Hal Buell, former AP photography director. "Nick had a scooter by then. -
Conrad and Coppola: Different Centres of Darkness
E. N. DORALL Conrad and Coppola: Different Centres of Darkness (From Southeast Asian Review of English, 1980. in Kimbrough, Robert, ed. Heart of Darkness: Norton Critical Edition. New York: Norton & Company, 1988.) When a great artist in one medium produces a work based on a masterpiece in the same or another medium, we can expect interesting results. Not only will the new work be assessed as to its merits and validity as a separate creation, but the older work will also inevitably be reassessed as to its own durability, or relevance to the new age. I am not here concerned with mere adaptations, however complex and exciting they may be, such as operas like Othello, Falstaff and Beatrice et Benedict, or plays like The Innocents and The Picture of Dorian Gray. What I am discussing is a thorough reworking of the original material so that a new, independent work emerges; what happens, for example, in the many Elizabethan and Jacobean plays based on Roman, Italian and English stories, or in plays like Eurydice, Antigone and The Family Reunion, which reinterpret the ancient Greek myths in modern terms. In the cinema, in many ways the least adventurous of the creative arts, we have been inundated by adaptations, some so remote from the original works as to be, indeed, new works in their own right, but so devoid of any merit that one cannot begin to discuss them seriously. But from time to time an intelligent and independent film has been fashioned from the original material. At the moment I can recall only the various film treatments of Hemingway's To Have and Have Not. -
Media Images of War 3(1) 7–41 © the Author(S) 2010 Reprints and Permission: Sagepub
MWC Article Media, War & Conflict Media images of war 3(1) 7–41 © The Author(s) 2010 Reprints and permission: sagepub. co.uk/journalsPermissions.nav DOI: 10.1177/1750635210356813 Michael Griffin http://mwc.sagepub.com Macalester College, Saint Paul, MN, USA Abstract Photographic images of war have been used to accentuate and lend authority to war reporting since the early 20th century, with depictions in 1930s picture magazines of the Spanish Civil War prompting unprecedented expectations for frontline visual coverage. By the 1960s, Vietnam War coverage came to be associated with personal, independent and uncensored reporting and image making, seen as a journalistic ideal by some, and an obstacle to successful government conduct of the war by others. This article considers the idealized ‘myth’ of Vietnam War coverage and how it has influenced print and television photojournalism of American conflicts, skewing expectations of wartime media performance and fostering a consistent pattern of US Government/media collaboration. Upon analysis, pictorial coverage of US wars by the American media not only fails to live up to the myth of Vietnam but tends to be compliant and nationalist. It fails to reflect popular ideals of independent and critical photojournalism, or even the willingness to depict the realities of war. Keywords documentary, Gulf War, Iraq War, journalism, news, photography, photojournalism, television, television news, Vietnam War, visual communication, visual culture, war, war photography Media representations of war are of interest to media scholars for many reasons. First, as reports or images associated with extreme conflict and matters of life and death, they tend to draw intense public attention, and potentially influence public opinion. -
Vietnam: Tet Offensive Resource Packet
Virginians at War Vietnam: Tet Offensive Resource Packet Contains: Glossary, Timeline, Images, Discussion Questions, Additional Resources Program Description: Virginians at War: The Tet Offensive explores the experience of Virginians that fought during the critical Tet Offensive in 1968, a turning point of the Vietnam War. Launched by the North Vietnamese Army on 30 January, the coordinated attack against thirteen different provincial capitals throughout South Vietnam took Americans and South Vietnamese by surprise. The result was a costly, long campaign that ended in a hard –fought military victory for the United States and South Vietnamese. However, the outcome of the campaign had a significantly negative impact on support for the war in the United States, from which the nation would not fully recover. Copyright: Virginia War Memorial Foundation, 2006 Length: 18:59 Streaming link: https://vimeo.com/367038067 Featured Speakers: MSG Lonnie S. Ashton, Montross SPC Orthea Harcum, Richmond MSG Lauren P. Bands, Colonial Heights LT Hugh D. Keogh, Midlothian COL Robert C. Barrett, Jr., Colonial Heights SGT Prentis Lee, Clifton LT COL Frank S. Blair, Richmond SP/4 Powhatan “Red Cloud” Owen, Charles City MSG Charles M. Carter, Warsaw SGM Douglass I. Randolph, Charlotte Court House SGT Earl E. Cousins, Ashland MAJ John A. Rawls, M.D., Mechanicsville CPT James H. Dement, Jr., Richmond 1st LT Cathie Lynn Solomonson, R.N., Woodbridge 1st LT Daniel G. Doyle, Richmond 1st LT James F. Walker, Roanoke LT COL John D. Edgerton, Williamsburg For a transcript of this program and more information on the Vietnam War, please visit vawarmemorial.org/learn/resources/vietnam.