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Who's Who at Metro-Goldwyn-Mayer (1939)
W H LU * ★ M T R 0 G 0 L D W Y N LU ★ ★ M A Y R MyiWL- * METRO GOLDWYN ■ MAYER INDEX... UJluii STARS ... FEATURED PLAYERS DIRECTORS Astaire. Fred .... 12 Lynn, Leni. 66 Barrymore. Lionel . 13 Massey, Ilona .67 Beery Wallace 14 McPhail, Douglas 68 Cantor, Eddie . 15 Morgan, Frank 69 Crawford, Joan . 16 Morriss, Ann 70 Donat, Robert . 17 Murphy, George 71 Eddy, Nelson ... 18 Neal, Tom. 72 Gable, Clark . 19 O'Keefe, Dennis 73 Garbo, Greta . 20 O'Sullivan, Maureen 74 Garland, Judy. 21 Owen, Reginald 75 Garson, Greer. .... 22 Parker, Cecilia. 76 Lamarr, Hedy .... 23 Pendleton, Nat. 77 Loy, Myrna . 24 Pidgeon, Walter 78 MacDonald, Jeanette 25 Preisser, June 79 Marx Bros. —. 26 Reynolds, Gene. 80 Montgomery, Robert .... 27 Rice, Florence . 81 Powell, Eleanor . 28 Rutherford, Ann ... 82 Powell, William .... 29 Sothern, Ann. 83 Rainer Luise. .... 30 Stone, Lewis. 84 Rooney, Mickey . 31 Turner, Lana 85 Russell, Rosalind .... 32 Weidler, Virginia. 86 Shearer, Norma . 33 Weissmuller, John 87 Stewart, James .... 34 Young, Robert. 88 Sullavan, Margaret .... 35 Yule, Joe.. 89 Taylor, Robert . 36 Berkeley, Busby . 92 Tracy, Spencer . 37 Bucquet, Harold S. 93 Ayres, Lew. 40 Borzage, Frank 94 Bowman, Lee . 41 Brown, Clarence 95 Bruce, Virginia . 42 Buzzell, Eddie 96 Burke, Billie 43 Conway, Jack 97 Carroll, John 44 Cukor, George. 98 Carver, Lynne 45 Fenton, Leslie 99 Castle, Don 46 Fleming, Victor .100 Curtis, Alan 47 LeRoy, Mervyn 101 Day, Laraine 48 Lubitsch, Ernst.102 Douglas, Melvyn 49 McLeod, Norman Z. 103 Frants, Dalies . 50 Marin, Edwin L. .104 George, Florence 51 Potter, H. -
Karen Blixen As the Female Colonizer in out of Africa
International Journal of Social Sciences ISSN: 2587-2591 DOI Number: http://dx.doi.org/10.30830/tobider.sayi.6.1 Volume 4/1 Spring 2020 p. 1-9 OUT OF AFRICA ROMANINDA BİR KADIN SÖMÜRGECİ: KAREN BLIXEN KAREN BLIXEN AS THE FEMALE COLONIZER IN OUT OF AFRICA Merve AYDOĞDU ÇELİK1 ÖZ Karen von Blixen-Finecke (1885-1962) ya da diğer ismi ile Isak Dinesen’in Out of Africa (1937) romanı gençliğinde Kenya’da bir kahve çiftliği kurarak sömürgeci bir yerleşmeci olarak geçirdiği hayatının bir belgesidir. Birinci şahıs anlatımıyla yazılan roman, kendisinin Kenya’da çiftlik sahibi olarak kazandığı on yedi yıllık deneyimi, Afrika insanını ve coğrafyasını anlatır. İçeriği ve anlatıcı-başkahramanı Out of Africa’yı sırasıyla hem sömürge sonrası hem de otobiyografik analiz için uygun kılsa da, bu çalışma anlatıcı-başkahramanı sömürgecilik sonrası çerçevede bir kadın sömürgeci olarak ele alır. Blixen’in romanı bir anı niteliği taşısa da, egzotik ve romantik bir Afrika görüntüsü sunarken söylemsel sömürgecilikten kaçınamaz. Yerli halka yardım ettiği zamanlarda hissettiği üstünlük duygusunu saklayamaz. Kenya’da işleyen sömürge sisteminden memnun görünmese de, sistemi değiştirmek için harekete geçmez. Bu nedenle, bu makale Karen Blixen’in Kenya’daki varlığını bir sömürgeci olarak kabul ettiğini ve sömürgecilik sürecini doğal bir olgu olarak varsaydığı sonucuna ulaşır. Anahtar Kelimeler: Isak Dinesen, Karen Blixen, sömürgecilik sonrası edebiyatı, sömürgecilik. 1 Dr., ORCID ID: 0000-0001-7354-9705, [email protected]. KAREN BLIXEN AS THE FEMALE COLONIZER IN OUT OF AFRICA 2 ABSTRACT Karen von Blixen-Finecke (1885-1962) aka Isak Dinesen’s Out of Africa (1937) is a document of her life as a colonial settler in Kenya where she establishes a coffee plantation in her prime. -
A Study of the Life of Denys Finch Hatton and His Relationship With
characters almost all die; as Seton observes dramatic effect. Nevertheless, this volume in the story "Silverspot," "there are no should still engage the attention of adults hospitals for sick crows." Morley, however, who remember Seton only as a writer for should be applauded for squelching the children. Polk-Atwood myth that Seton's stories therefore support their theory that Cana dians are victims or losers. As she points Winnifred M. Bogaards out, "Seton's consuming interest in his stories lies in the individual hero," in animals "of unusual gifts and achievements," in "the real personality of the animal and its view of life rather than the ways of the species," in creatures "who excite our ad miration in the highest degree." A hero, whether dead or alive, is neither victim ERROL TRZEBINSKI nor loser. Silence Will Speak: A Study of the Life of Denys Finch Hatton and his The stories, selected because she re gards them as among Seton's best with a Relationship with Karen Blixen Canadian setting, amply prove her point. Chicago: University of Chicago The first five are from Seton's first col Press, 1977. Pp. 348. $15.00. lection, Wild Animals I Have Known. Silver- spot the crow, Raggylug the Cottontail rabbit, Bingo the dog, the Springfield fox and Redruff the partridge all engage our There can be no pretending that this admiration for their exceptional courage, is a well-written book, or even a necessary cleverness, and beauty. With the deaths one; but to admirers of Isak Dinesen it is of these heroic leaders, often through the unquestionably an irresistible one. -
Babette's Feast
“PLENTY OF FOOD FOR EVERYONE”: A BALTHASARIAN LOOK AT BABETTE’S FEAST JACQUES SERVA IS “Grace is not external to created being as love.” “Like at the wedding at Cana,” affirms an old man at the extrava- gant French dinner in Babette’s Feast, “the food is not important.”1 Yes, surely something more than drinking and eating is at stake in John 2:1–11. The same holds for the film itself, which, though it revolves around a seven-course meal offered to poor villagers, “is not a film about cooking,” nor is the dinner whatsoever “an end in itself,” as the Danish director Gabriel Axel makes clear in an interview.2 But does all this make food and wine irrelevant? 1. Hereafter, where quotations in this essay are not footnoted, they are tak- en from the English subtitles of Babette’s Feast, directed by Gabriel Axel (2007, Twentieth Century Fox Home Entertainment), DVD. Unless otherwise in- dicated, all citations in this essay are to works by Hans Urs von Balthasar (Freiburg: Johannes Verlag Einsiedeln), published in English by Ignatius Press (San Francisco). All citations to Balthasar’s books from Johannes Verlag are from the most recent editions. 2. Gabriel Axel, interview by Jill Forbes, “Axel’s Feast,” Sight and Sound 57, no. 2 (Spring 1988): 106–07. Communio 44 (Fall 2017). © 2017 by Communio: International Catholic Review 416 JACQUES SERVAIS If they point beyond themselves, do they therefore disappear? At Cana, the Lord uses them as “signs” to reveal “his glory” (Jn 2:11), but this glory appears less as a scalding light, as it were, than a flickering candle, almost hidden. -
Reading the Surface: the Danish Gothic of B.S. Ingemann, H.C
Reading the Surface: The Danish Gothic of B.S. Ingemann, H.C. Andersen, Karen Blixen and Beyond Kirstine Marie Kastbjerg A dissertation submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy University of Washington 2013 Reading Committee: Marianne Stecher. Chair Jan Sjaavik Marshall Brown Program Authorized to Offer Degree: Scandinavian Studies ©Copyright 2013 Kirstine Marie Kastbjerg Parts of chapter 7 are reprinted by permission of the publishers from “The Aesthetics of Surface: the Danish Gothic 1820-2000,” in Gothic Topographies ed. P.M. Mehtonen and Matti Savolainen (Farnham: Ashgate, 2013), pp. 153–167. Copyright © 2013 University of Washington Abstract Reading the Surface: The Danish Gothic of B.S. Ingemann, H.C. Andersen, Karen Blixen and Beyond Kirstine Marie Kastbjerg Chair of the Supervisory Committee: Professor in Danish Studies Marianne Stecher Department of Scandinavian Studies Despite growing ubiquitous in both the popular and academic mind in recent years, the Gothic has, perhaps not surprisingly, yet to be examined within the notoriously realism-prone literary canon of Denmark. This dissertation fills that void by demonstrating an ongoing negotiation of Gothic conventions in select works by canonical Danish writers such as B.S. Ingemann, Hans Christian Andersen, and Karen Blixen (Isak Dinesen), as well as contemporary writers such as Peter Høeg and Leonora Christina Skov. This examination does not only broaden our understanding of these culturally significant writers and the discourses they write within and against, it also adds to our understanding of the Gothic – an infamously malleable and indefinable literary mode – by redirecting attention to a central feature of the Gothic that has not received much critical attention: the emphasis on excess, spectacle, clichéd conventions, histrionic performances, its hyperbolic rhetorical style, and hyper-visual theatricality. -
Nanna Debois Buhl & Brendan Fernandes KAREN BLIXEN MUSEET 29.04–04.09.2011
Nanna Debois Buhl & Brendan Fernandes KAREN BLIXEN MUSEET 29.04–04.09.2011 IN YOUR WORDS Hvilket sprog drømmer du på? What language do you dream in? Det er en stor glæde for Karen Blixen Museet at It is a great pleasure for us at the Karen Blixen Mu- byde velkommen til billedkunstnerne Nanna Debois se um to bid welcome to the visual artists, Nanna Debois Buhl og Brendan Fernandes. Udstillingen In Your Buhl and Brendan Fernandes. The exhibition entitled Words er blevet til hen over en længere tids periode, In Your Words has come into being over an extended som har givet kunstværkerne god tid til at modnes. period of time. The consequence of this is that the artworks Til udstillingen har kunstnerne i fællesskab skabt have had sufficient chance to ripen. For the exhibition, en serie helt nye værker, der tager afsæt i Blixens the artists have been working together to create a series of hjem og forfatterskab. Flere besøg på museet og i completely new works that take their point of departure fuglereservatet i parken er det blevet til, og denne in Blixen’s home and authorship. The artists have made udveksling med stedet og det nære kendskab, som several visits to the museum and to the bird sanctuary in kunstnerne har opnået med det lokale og detaljerede the park. This exchange with the place and the intimate på Rungstedlund, afspejler sig i værkerne. knowledge of the premises and the appurtenant details at Når et sted pludselig bliver udsat for nye øjne, Rungstedlund that the artists have managed to acquire er resultatet ofte overraskende og tankevæk ken de, og are reflected in the works. -
Karen Blixen's Humor Ivan Z. Sørensen*
Israeli Journal of Humor Research, December 2020, Vol. 9 Issue No. 2 31 Karen Blixen’s Humor Ivan Z. Sørensen* Abstract It is curious that practically no critic nor reviewer in either America or England or Denmark has pointed out the humor in the works of the Danish storyteller Karen Blixen / Isak Dinesen. Not least because she actually wanted to be perceived as a humorist herself. In this paper I intend to demonstrate the humor in her tales as a combination of the small and the great humor, using a concept pair introduced by the Danish philosopher Harald Høffding––and with references also to Søren Kierkegaard. The great humor is an overall view of life, while the small humor is fun – also in the sense of oblique angles and norm-breaking views. Key Words: Blixen, great and small humor, irony, audacity, view of life, secularization, distance, Kierkegaard, Arendt Eugene Walter asks the Danish author Karen Blixen / Isak Dinesen about the comic spirit in her tales. “Isak Dinesen: Oh, I’m glad you mentioned that! I do often intend a comic sense, I love a joke, I love the humorous. The name “Isak” means “laughter.” I often think that what we most need now is a great humorist.”1 In 1931, after 17 years as a farmer or colonialist in Kenya, Blixen returned to her childhood home, Rungstedlund, some 30 kilometers north of Copenhagen. Here she dedicated herself to writing stories. In 1934, when she was 40 years old, her Seven Gothic Tales was published in the USA. It was immediately a big success. -
Scan D Inavistica Viln Ensis 3
IS SCAN S D N 3 I N E A N V L I I S V T I A C Centre of Scandinavian Studies Faculty of Philology Vilnius University Ieva Steponavi)i*t+ Texts at Play Te Ludic Aspect of Karen Blixen’s Writings Vilnius University 2011 UDK / UDC 821.113.4(092) St-171 Te production of this book was funded by a grant (No MOK-23/2010) from the Research Council of Lithuania. Reviewed by Charlote Engberg, Associate Professor, Lic Phil (Roskilde University, Denmark) Jørgen Stender Clausen, Professor Emeritus (University of Pisa, Italy) Editorial board for the Scandinavistica Vilnensis series Dr Habil Jurij K. Kusmenko (Institute for Linguistic Studies under the Russian Academy of Sciences, Saint Petersburg / Humboldt University, Germany) Dr Phil Anatoly Liberman (University of Minnesota, USA) Dr Ērika Sausverde (Vilnius University) Dr Ieva Steponavičiūtė-Aleksiejūnienė (Vilnius University) Dr Aurelijus Vijūnas (National Kaohsiung Normal University, Taiwan) Approved for publishing at the meeting of the Council of the Faculty of Philology of Vilnius University (17 06 2011, record No 7) Designer Tomas Mrazauskas © Ieva Steponavičiūtė, 2011 © Vilnius University, 2011 ISSN 2029-2112 ISBN 978-9955-634-80-5 Vilnius University, Universiteto g. 3, LT-01513 Vilnius Tel. +370 5 268 7260 · www.leidykla.eu Centre of Scandinavian Studies · Faculty of Philology · Vilnius University Universiteto g. 5, LT-01513 Vilnius Tel. +370 5 268 7235 · www.skandinavistika.ff.vu.lt To my family Much is demanded of those who are to be really profcient at play. Courage and imagination, humor and intelligence, but in particular that blend of unselfshness, generosity, self-control and courtesy that is called gentilezza. -
Karen Blixen's "The Poet" and Søren Kierkegaard's 'Gjentagelsen'
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Copenhagen University Research Information System Karen Blixen's "The Poet" and Søren Kierkegaard's 'Gjentagelsen' Bunch, Mads Published in: European Journal of Scandinavian Studies Publication date: 2014 Document version Early version, also known as pre-print Citation for published version (APA): Bunch, M. (2014). Karen Blixen's "The Poet" and Søren Kierkegaard's 'Gjentagelsen'. European Journal of Scandinavian Studies, 44(2), 165-185. Download date: 08. Apr. 2020 ejss 2014; 44(2): 165–185 Mads Bunch Karen Blixen’s “The Poet” and Søren Kierkegaard’s Gjentagelsen Abstract: It is commonly acknowledged within Karen Blixen scholarship that some of Blixen’s tales are literary responses to other works from world litera- ture. In this paper I will argue that the tale “The Poet” from Seven Gothic Tales (1934) should be included in this line-up of responses as a literary response to Søren Kierkegaard’s Gjentagelsen (Repetition) from 1843. Through juxtapositions of quotes and analysis of plot development and character constellations, I will show how Blixen redevelops the plot and reverses the characters from Kierke- gaard’s Gjentagelsen. I will pay particular attention to a reoccurring character in Kierkegaard’s production: the elderly bachelor esthete (Constantin Constan- tius), whom Blixen in “The Poet” exposes as a demonic, yet comical character. I will conclude by pointing out that repetition should be acknowledged as an integral part of Blixen’s poetics, since she consistently repeats archetypal plots and characters from world literature in her works that at the same time are completely new and original, following the dialectics of repetition. -
Karen Blixen Is Denmark's Most Famous Female Author. She Is
Karen Blixen is Denmark’s most famous female author. She is internationally recognized, renowned, and read all over the world like her two countrymen Søren Kierkegaard and Hans Christian Andersen. Karen Blixen experienced her international breakthrough in 1934 when Seven Gothic Tales was published in the US under the masculine pseudonym Isak Dinesen. The tales are set in a time of upheaval as Denmark transitioned from an absolute monarchy to democracy in the middle of the 19th century with sea battles, duels, and floods. The tales were made a Book of the Month Club selection and, consequently, reached hun- dreds of thousands of Americans and Canadians. Overnight, Blixen became world-famous. In 1937, Karen Blixen published Out of Africa, based on her own time in Kenya as a cof- fee farmer and big game hunter. Karen Blixen arrived in Kenya in 1914 and cultivated coffee until 1931 when her farm went bankrupt and she had to return to Denmark, sick, divorced, and destitute. There is great interest in Karen Blixen’s remarkable life as a woman of that era. She went out into the world, ran the farm herself for a time, established an international career as a writer, and helped create the Danish Academy. Karen Blixen is an important cultural personage, and she managed to create a huge at- traction for and interest in her person. She dressed either quite extravagantly or in a very understated way, and she read her tales on the radio and TV. She was able to gather important people around her, liked to puncture their balloons a bit, and made subtle and humoristic pronouncements. -
Min Karen Blixen-Samling Og Et Praktisk Problem
Min Karen Blixen-samling og et praktisk problem Af K.F.Plesner Egentlig totalsamler af nogen enkelt forfatter har jeg aldrig været. Ikke engang af Baggesen. Sa skulle det snarere være af Johannes Smith, fordi vi for en menneskealder siden blev enige om for alle tilfældes skyld at udstationere et eksemplar af hvad vi skrev hos hinanden. Derimod har jeg af ikke så få forfattere nogenlunde fuld stændige rækker af originaludgaver — og, som jeg har sagt før: original er enhver udgave som bringer en ny, ændret eller øget text, fra senere optryk kan man roligt se bort, medmindre de skulle rumme et videnskabeligt noteapparat, som jo i så fald er originalt. En totalsamler af Karen Blixen måtte vel til at begynde med sla fast, at hun hører til en skrivende familie. Udgangspunktet måtte da blive hendes bedstefar A. W. Dinesens sjældne lille bog Abd-el-Kader, 1840, om krigen i Algier, hvori han deltog som frivillig. Dernæst hendes far Wilhelm Dinesen, af hvem man foruden de to samlinger Jagtbreve, 1889, og Nye Jagt breve, 1892, helst i de kønne, grønne komponerede shirtings bind, ikke blot skulle have bogen om kampen om Dybbøl, Fra ottende Brigade, 1889, og om hans deltagelse i den fransk tyske krig, Paris under Gommunen, 1872, men også de to udsnit fra Tilskueren 1887 om hans Ophold i De forenede Stater. Af hendes bror Thomas Dinesen er der både hans skildringer fra første verdenskrig No Man's Land, 1928, og hans egne uhyggelige og fantastiske fortællinger Syrenbusken, 1966 213 K. F. PLESNER 1952. Og endelig søsteren Ellen Dahl, der bl.a. -
Agnes De-Courci: a Domestic Tale Place of Publication: Bath Publisher: Printed and Sold for the Author, by S
Author: Anna Maria Bennett Title: Agnes De-Courci: a Domestic Tale Place of publication: Bath Publisher: Printed and sold for the author, by S. Hazard Date of publication: 1789 Edition: 1st ed. Number of volumes: 4 'Variously attributed to Mrs. E. G. Bayfield, J. H. James and Mrs. E. M. Foster.' (The English Novel 1770-1829: a bibliographical survey of prose fiction published in the British Isles, James Raven, Peter Garside & Rainer Schöwerling eds. (Oxford: Oxford University Press, 2000)) AGNES DE-COURCI, A DOMESTIC TALE. In FOUR VOLUMES. Inscrib’d with Permission to Col. HUNTER. By Mrs. Bennett, AUTHOR OF THE WELCH HEIRESS, and JUVENILE INDISCRETIONS. I know thou wilt grumble, courteous Reader, for every Reader in the World is a Grumbletonion more or less; and for my Part, I can grumble as well as the best of ye, when it is my turn to be a Reader. SCARRON. VOL. I. BATH: PRINTED and SOLD, for the AUTHOR, BY S. HAZARD: Sold also by G.G.J. and J. ROBINSON, Paternoster-Row, and T. HOOKMAN, New Bond-Street, LONDON; SHIER- CLIFF, BRISTOL; and all other Booksellers. MDCCLXXXIX. 2 AGNES. AGNES DE-COURCI, A DOMESTIC TALE. LETTER I. General Moncrass to Major Melrose. Belle Vue. IN the present situation of my affairs, it is equally impossible for me to combat your arguments, or do away the doubts of my prudence; which, notwithstanding your agreeable raillery, I perceive you entertain; time, my dear Major, and time only, will unravel what you term the mystery of my conduct; in the mean while I acknowledge the justness of your position; you draw the parallel between the incertitude of common events, and the natural imbecility of the human mind, with great truth; your conclusions are perhaps severe, but they are not less just, for that severity.