DOCSLIB.ORG

00 Impresum.Qxp

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
00 Impresum.Qxp Mostovi ^asopis za prevodnu knji`evnost Broj 146 2009. sveska 2 Izdava~: Udru`enje knji`evnih prevodilaca Srbije Francuska 7 11000 Beograd tel/fax 26-27-493 e-mail: [email protected] website: www.mostovi.net Redakcija: Arpad Vicko Drinka Gojkovi} (glavni urednik) Vladislava Gordi}-Petkovi} Oblikovanje: [KART Prelom: studio ^avka (Neboj{a ^ovi}) Lektura i korektura: Zorica Galonja Kompjuterska priprema: Radovan Galonja [tampa: Standard 2, Beograd Tira`: 500 Rukopisi se ne vra}aju Broj 146 ulazi u {tampu 7. novembra 2009. SADR@AJ — Svet knji`evnosti O stvarima i ljudima. Nova proza iz Nema~ke — autori projekta: Literarisches Colloquium Berlin i Goethe Institut Beograd . 5 Katja Lange-Miler Zle ovce . 7 Ijoma Mangold o romanu Katje Lange-Miler sadr`aj Poetska snaga gole istine . 19 – prevela Vir|inija Pasku Tomas fon [tajneker Za{ti}eni prostor . 23 Zigrid Lefler o romanu Tomasa fon [tajnekera Ironi~an pogled na kolonijalni svet . 36 – preveo Neboj{a Bara} Danijela Danc ^uvar kule . 39 Martin Bruh o romanu Danijele Danc Iznad rata. Danijela Danc stvara {kolu perspektiva — . 54 – prevela Tijana Tropin @u`a Bank Ledeno doba . 57 Najvrelije leto . 66 – preveo Jan Krasni Andreas Izen{mit o zbirci pripovedaka @u`e Bank Najvrelije leto Objave gubitaka . 70 – preveo M. B. Norbert Niman [kola nasilja . 73 Rihard Kemerlings o romanu Norberta Nimana Svejedno je, ali... 85 – preveo Neboj{a Bara} Luc Zajler Usred {uma . 89 Helmut Betiger o pripovetkama Luca Zajlera Melanholi~no intonirane pripovetke . 102 – prevela Spomenka Kraj~evi} — Nova klasika Rene Dekart i Elizabeta od Boemije Filozof i princeza – preveo s francuskog i priredio Aljo{a Mimica . 103 — Problemi prevo|enja Zoran Minderovi} Vitgen{tajn u prevodila~koj magli . 112 Zorica Man~i} O nekim odstupanjima u posrednom prevodu . 117 Pisma redakciji Slobodanka Gli{i} . 125 Zoran Paunovi} . 126 — Esej Mostova Mirjana Marinkovi} Od Orhona do Orhana . 127 — Anketa Mostova Prevod, prelom i korice: vizuelni identitet knjige U~esnici ankete: Marko ^udi}, Srpko Le{tari}, Mirjana Marinkovi}, Ljubi{a Raji}, Draginja Ramadanski, Miroslava Spasi}, Dragana Star~evi} . 135 — Knjige Ksenija Radulovi} Dramski kroki – od Indije do In|ije Kratke, kra}e i najkra}e drame na svetu. Priredio: Jovan ]irilov . 148 Nenad Tomovi} Prikaz jednog re~nika – Boris Hlebec: Standardni srpsko-engleski re~nik 151 — Doga|aji Iz istorije prevodila{tva: Zdenko [kreb – Tri pisma Branimiru @ivojinovi}u . 153 Predstavljena Bibliografija Branimira @ivojinovi}a Jelena Staki}, Mirko Krivokapi}, Dolores Kalo|era Petrovi}, Mia David, Drinka Gojkovi} . 156 Nikola @ivojinovi} Moj otac Branimir @ivojinovi} . 172 Milan \or|evi} Pomalo li~no. Jedno se}anje . 175 — Drama Dejvid Vilijamson Beli mu{karci iz pro{lih vremena – prevela s engleskog Jasna Novakovi} . 177 — Prevodioci Mostova . 249 YU ISSN 0350-6525 O stvarima i ljudima. Nova proza iz Nema~ke Autori projekta: Literarisches Colloquium Berlin i Goete Institut Beograd 5 Katja Lange-Miler © Tobias Bom 6 — Katja Lange-Miler — Zle ovce S nema~kog prevela Vir|inija Pasku Le`imo na dva madraca, ne dodiruju}i se sa strane, ali glave uz glavu. Arterija svet knji`evnosti nad tvojom slepoo~nicom pulsira mi uz obraz. Tvoja kosa mi dodiruje nos, ali ne golica, samo miri{e – na {ampon, i na tebe. Ve} minutima ili satima gotovo da se ne pomeramo, ne govorimo ni{ta, di{emo plitko. O~i su ti zatvorene, a moje gledaju uvis ka otvorenom prozoru, u kome se ne ukazuje ni{ta osim par~eta vedrog, ni svetlog niti tamnog neba. I ako bih se uop{te ne{to zapitala, onda samo, da li svi}e ili se smrkava. Ne ose}am se ni umorno niti budno, ni te{ko niti lako, ne moram ni da pu{im ni da jedem, niti da pijem, ni da idem u toalet. Nemam potrebu za distancom, ali ni `elju da te zagrlim. Slobodna sam, ne za sve ve} od svega, pa ipak nisam usamljena… Taj film po~inje ~im pomislim na tebe, na nas. Gledam ga i istovremeno vidim sebe u njemu (igrati bi verovatno bila pogre{na re~), ne kao `enu kakva sam sada, ve} onakvu kakva sam bila pre mnogo godina: mla|a, lep{a i naj~e{}e uz tebe. Ne mogu da vratim taj ve} pomalo izbledeli i izgrebani film, mogu samo da ga ubrzam ili razvu~em, da zaustavim sekvence koje mi se dopadaju, sve dok privi|enje ne nestane, jer opet zvoni telefon ili po{tar, ili sam, budu}i da me ni{ta drugo ne gnjavi, stigla do danas bli`e, sutra dalje obale sna. [to du`e traje film to je manje doga|aja u njemu; a mo`da pore|enje sa bioskopskim ili televizijskim filmom, {to se uz zapinjanje odmotava, nije najbolje, mo`da te slike, {to mi jedna za drugom trepere preko mre`nja~a, pre spadaju u seriju ne vrlo o{trih, i stoga sli~nih dijapozitiva, ~iji nehoti~ni, nikada identi~ni redosled zavisi od mojih treptaja, od toga kada mi se i koliko ~esto o~i zatvaraju, otvaraju, zatvaraju… Par~e polutamnog neba veli~ine prozora, bez oblaka i zvezda, jarkocrveno presvu~eni madraci u dnu moje sobe, na{a tela koja po~ivaju, mi na ulicama Berlina, ti kod D`oa, ja pred kutijom sa starudijom…, samo jo{ snaga moje uobrazilje stvara svaku pojedina~nu sliku i sve njih zajedno, {to opravdava metaforu sa filmom kao i sa serijom dijapozitiva, da nije mirisa tvoje kose, lepljive topline tvojih slepoo~nica i mojih obraza, na{eg asinhronog disanja i skromnosti koja obe}ava slobodu, koju sam ose}ala i stalno iznova ose}am, koju, otkako sam je po prvi put do`ivela, nazivam sre}om, o~aravaju}e nedramati~nom sre}om, koja mi se vra}a kad god je se setim. 7 S Da li je trebalo da se, kad se na{ film davao u realnom vremenu, kad smo bili za fotografisanje, raspitujem za tvoja ose}anja, mada si se gotovo uvek pravio da se ona ~ak ni tebe ne ti~u? Da li si uop{te mogao da govori{ o svojim ose}anjima? Ili si mislio da ih je lak{e izraziti fizi~ki, pogledima, mimikom, gestovima – a ponekad i kurcem? Jesam li se ikada usudila da te pitam {ta se krije iza tvog ponosnog izraza lica kao u belog medveda, tvoje odsutne ravnodu{nosti, retkih napada akcionizma ili ljubavi? Kad god sam to htela da znam, a htela sam dovoljno ~esto, maskirala bih odgovaraju}u re~enicu u navodno najtipi~niju od svih prostih `enskih upitnih re~enica: [ta ti misli{? Tvoj jo{ oskudniji i klasi~no mu{ki odgovor gotovo uvek je glasio: “Ni{ta.” Ili: “Ni{ta konkretno.” Nesumnjivo, nisi spadao me|u one kojima je razgovor potreban, bio si }utljiv, i {to je jo{ va`nije, diskretan. Bio si privr`en – u svojim boljim trenucima – parolama i krilaticama, poentiranim izrekama, ali voleo si da ~ita{, fantastiku, najdeblje romane koji su se mogli nabaviti. Tebi je re~ lak{e upadala u oko i i{la od ruke nego preko usana; zavr{io si za tipografa, kao i ja. “Sino} sam po prvi put posle ~itave ve~nosti ubacio u kljun poslasticu. Divno je biti slobodan, dok je sunce tako toplo. Ali hobi moram i dalje da batalim, sasvim konsekventno. U planu stoji: nabaviti lovu, i}i na karate, potra`iti sopstvenu gajbu.” Pita{ se za{to ti citiram ono {to si sam napisao? Zato {to je sveska sa tvojim nedatiranim bele{kama, koju za sve vreme koje smo proveli zajedno nikada nisam videla kod tebe, tada pripala meni, i ja ne znam da li se – i ako, koliko dobro – se}a{ svojih ta~no osamdeset devet re~enica u kojima se ne pojavljuje moje ime i koje }u ti uprkos tome ili upravo stoga ponoviti, ne hronolo{ki, ali re~ po re~, do kraja na{e pri~e. Ah, Hari, da je ta sveska zavr{ila kod nekog drugog, a on bio dovoljno radoznao da je pro~ita, ne bi ~ak mogao ni da nasluti da je mene ikada bilo u tvom `ivotu, koji je bio i jeste moj. II Bila je slu~ajnost da smo se sreli. A {ta drugo? Mo`da ipak ne{to kao sudbina, jer smo isto tako mogli i da se mimoi|emo. Toga dana, kad smo se slu~ajno sreli, ti nisi bio sam, a ja nisam bila ni dvanaest meseci daleko odande gde sam odrasla i ostala do svoje trideset devete godine. U svako doba mogu da se setim i scena onog sedamnaestog aprila 1987., koje su se – barem u prvim satima – ticale mene a mo`da ~ak i tebe; i za razliku od svet knji`evnosti 8 slika idile na madracu iz filma i sa dijapozitiva, ove scene svaki put bivaju sve jasnije i detaljnije, i stoje mi upravo sada gotovo kao u tekstu pred o~ima, kao da se nisu dogodile, ve} su izmi{ljene, rezultat moje ma{te kojom upravlja mo}na ~e`nja: Metro se zaustavio iznad trga Nolendorf, iza{la sam i ponovo se obradovala gotovo pustoj {irini {to mi je le`ala pod nogama, oivi~ena kioscima za prodaju dener-}evapa, kafeima, prodavnicama tre}erazredne robe i {tandovima sa cve}em, a i zbog toga {to sam prethodnog dana sa jeftinim nov~anikom izgubila samo sitni{, ali ne dokument koji je izbeglici iz DDR-a, u{lom u zemlju preko prihvatnog logora Marijenfelde, omogu}avao da ~itave godine besplatno koristi sva javna prevozna sredstva. Prole}no sunce bilo je visoko na nebu i bacalo ble{tavu, gotovo belu svetlost na trg {to je posle otopljavanja, kome pak nije usledila ki{a, delovao isto toliko nevino koliko i propalo; jo{ vidim i ono dete, mr{avu devoj~icu u fluorescentno zelenoj vetrovci, {to mi je sleva u{la u vidno polje, vukla za sobom kesu sa opremom za fizi~ko i o~igledno nije u`ivala u be`anju sa ~asova.
Load more

Recommended publications
  • African American Female Law Enforcement Officers' Lived Experiences and Mentoring: a Thematic Narrative
    The University of San Francisco USF Scholarship: a digital repository @ Gleeson Library | Geschke Center Doctoral Dissertations Theses, Dissertations, Capstones and Projects 12-2019 African American Female Law Enforcement Officers' Lived Experiences and Mentoring: A Thematic Narrative Harold Wilson Follow this and additional works at: https://repository.usfca.edu/diss Part of the Organizational Behavior and Theory Commons, and the Sociology Commons The University of San Francisco AFRICAN AMERICAN FEMALE LAW ENFORCEMENT OFFICERS’ LIVED EXPERIENCES AND MENTORING: A THEMATIC NARRATIVE A Dissertation Presented to The Faculty of the School of Education Department of Leadership Studies In Partial Fulfillment of the Requirements for the Degree Doctor of Education by Harold Wilson San Francisco December 2019 THE UNIVERSITY OF SAN FRANCISCO Dissertation Abstract African American Female Law Enforcement Officers’ Lived Experiences and Mentoring: A Thematic Narrative Black female officers are an underrepresented sub-group of the law-enforcement profession. The bulk of research on women’s policing has focused on the growth of women in law enforcement, barriers, sexual harassment, gender differences, why women are deterred from law enforcement, physical limitations, and instruments used during the recruitment process, and the stress endured after entry into the profession. When looking at Black female officers’ lived experience and perceptions around mentoring; research is lacking. Eight Black female officers from the San Francisco Bay Area participated in this study. Findings revealed that all of the women have faced a recurring sense of discrimination, based on their gender. Many participants also suggested a culture in which women are viewed as less capable and, are, at times, less valued.
    [Show full text]
  • DAVID WILLIAMSON Is Australia's Best Known and Most Widely
    DAVID WILLIAMSON is Australia’s best known and most widely performed playwright. His first full-length play The Coming of Stork was presented at La Mama Theatre in 1970 and was followed by The Removalists and Don’s Party in 1971. His prodigious output since then includes The Department, The Club, Travelling North, The Perfectionist, Sons of Cain, Emerald City, Top Silk, Money and Friends, Brilliant Lies, Sanctuary, Dead White Males, After the Ball, Corporate Vibes, Face to Face, The Great Man, Up For Grabs, A Conversation, Charitable Intent, Soulmates, Birthrights, Amigos, Flatfoot, Operator, Influence, Lotte’s Gift, Scarlet O’Hara at the Crimson Parrot, Let the Sunshine and Rhinestone Rex and Miss Monica, Nothing Personal and Don Parties On, a sequel to Don’s Party, When Dad Married Fury, At Any Cost?, co-written with Mohamed Khadra, Dream Home, Happiness, Cruise Control and Jack of Hearts. His plays have been translated into many languages and performed internationally, including major productions in London, Los Angeles, New York and Washington. Dead White Males completed a successful UK production in 1999. Up For Grabs went on to a West End production starring Madonna in the lead role. In 2008 Scarlet O’Hara at the Crimson Parrot premiered at the Melbourne Theatre Company starring Caroline O’Connor and directed by Simon Phillips. As a screenwriter, David has brought to the screen his own plays including The Removalists, Don’s Party, The Club, Travelling North and Emerald City along with his original screenplays for feature films including Libido, Petersen, Gallipoli, Phar Lap, The Year of Living Dangerously and Balibo.
    [Show full text]
  • After the Ball David Williamson
    David Williamson’s first full-length play, The Coming of Stork, premiered at the La Mama Theatre, Carlton, in 1970 and later became the film Stork, directed by Tim Burstall. The Removalists and Don’s Party followed in 1971, then Jugglers Three (1972), What If You Died Tomorrow? (1973), The Department (1975), A Handful of Friends (1976), The Club (1977) and Travelling North (1979). In 1972 The Removalists won the Australian Writers’ Guild AWGIE Award for best stage play and the best script in any medium and the British production saw Williamson nominated most promising playwright by the London Evening Standard. The 1980s saw his success continue with Celluloid Heroes (1980), The Perfectionist (1982), Sons of Cain (1985), Emerald City (1987) and Top Silk (1989); whilst the 1990s produced Siren (1990), Money and Friends (1991), Brilliant Lies (1993), Sanctuary (1994), Dead White Males (1995), Heretic (1996), Third World Blues (an adaptation of Jugglers Three) and After the Ball (both in 1997), and Corporate Vibes and Face to Face (both in 1999). The Great Man (2000), Up for Grabs, A Conversation, Charitable Intent (all in 2001), Soulmates (2002), Birthrights (2003), Amigos, Flatfoot (both in 2004), Operator and Influence(both 2005) have since followed. Williamson is widely recognised as Australia’s most successful playwright and over the last thirty years his plays have been performed throughout Australia and produced in Britain, United States, Canada and many European countries. A number of his stage works have been adapted for the screen, including The Removalists, Don’s Party, The Club, Travelling North, Emerald City, Sanctuary and Brilliant Lies.
    [Show full text]
  • Margaret Goldrick Remembers Arthur Boyd
    Vol. 9 No. 6 JulyI August 1999 $5.95 Tim Bonyhady on john McDonald and the state of Australian art criticism john Sendy on China 50 years after the Revolution Margaret Goldrick remembers Arthur Boyd Bill Garner on the great and disappearing art of camping Peter Mares reports on the Indonesian election Special Book Offer VOONG WHY WEREN'T WE TOLD? A personal search for the truth about our history by Henry Reynolds Why Weren't We Told~ is historian Henry Reynolds' account of his own journey to understanding the truth about our history. Drawing on personal experiences and historical observations, Reynolds looks at Australia's history of relations with indigenous people from colonisation to the present day, identifying the myths that were taught in the past and explaining why and how they cam e about. Thanks to Viking Books, Eureka Street has 10 copies of Why Weren't We Told! to give away, each worth $24.95 . Ju st put your name and address on the back of an envelope and send it to: Emel<a Street July/August Book Offer, PO Box 553, Richmond VIC 3121. Executive Director CHARLES STURT Australian Centre for U N V E R S T y Christianity and Culture Australian Centre for (Located at Canberra) Christianity and Culture The Australian Centre is an ecumenica l foundation. endo rsed b y the Natio nal Council of Churches and sponsored hy the Anglican Diocese of Ca nberra and Goulburn and Charles Srun University. The Centre is committed to the celebratio n and nourishment o f the encounter and dialogue between Christianity and all as pects o f modern Australian life.
    [Show full text]
  • Cairns Little Theatre Productions
    ARCHIVE – CAIRNS LITTLE THEATRE PRODUCTIONS 1954 Central Methodist Hall Dec. ‘I Have Been Here Before’ by JB Priestly – Director Bruce Webster (1) 1955 St Andrews Hall Mar ‘Duet For Two Hands’ by Mary Haley Bell – Director Keith Gilbert (2) Edge Hill Progress Hall May ‘The Shop at Sly Corner’ by Edward Percy – Director John Edwards (3) July ‘Castles in the Air’ by Alan Melville – Director Pippi Clarke (4) Aug ‘Ladies in Retirement’ by Edward Percy – Director Laurie Mackie (5) 1956 Edge Hill Progress Hall Mar ‘An Inspector Calls’ by JB Priestly – Director Keith Gilbert (6) Aug ‘The Silver Cord’ by Sidney Howard – Director Alan Pride (8) Nov ‘The Second Taming’ Written and Directed by William Malhoney (9) 1957 Edge Hill Progress Hall Mar ‘Fresh Fields’ by Ivor Novello – Director Gwen Boland (10) Hibernian Hall July ‘Dangerous Corner’ by JB Priestly – Director Cora Williams (11) Oct ‘Ten Little Niggers’ by Agatha Christie – DirectorCharles Eustance (12) Dec ‘Hay Fever’ by Noel Coward – Director Pat Daveson (13) 1958 Hibernian Hall Mar ‘The Giaconda Smile’ by Aldous Huxley – Director Charles Eustance (14) May ‘Ring Around the Moon’ by Jean Anouith/Christopher Fry – Director Pat Purcell (15) Oct ‘A Question of Fact’ by Wynard Browne – Director Cora Williams (16) Nov ‘My Three Angels’ by Sam & Bella Spewack – Director Reg Stocker (17) 1959 Hibernian Hall Apr ‘The Outsider’ by Dorothy Brandon – Director Charles Eustance (18) Aug ‘See The Jaguar’ by N.Richard Nash – Director John V Trevor (19) With Arts Council Support 1960 Hibernian Hall Apr ‘I am a Camera’ by John van Druten – Director Reg Stocker (20) Aug ‘The Glass Menagerie’ by Tennessee Williams – Director Cora Williams (21) Sept ‘Toad of Toad Hall’ by A.A.Milne – Director Reg Stocker (22) Nov ‘The Hollow’ by Agatha Christie – Director Charles Eustance (23) 1961 Hibernian Hall Mar ‘Gigi’ by Colette & Anita Loos – Director Charles Eustance (24) July ‘Major Barbara’ by George Bernard Shaw – Director Cora Williams (25) Sept ‘Ned Kelly’ by Douglas Stewart – Director Reg Stocker (26) Nov ‘Dear Brutus’ by J.M.
    [Show full text]
  • The Effects of Satire and Farce in the Plays of David Williamson
    i “Sugared Placebos”? The effects of satire and farce in the plays of David Williamson Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy School of Education Faculty of Human Development Victoria University By Elvira Sammut DipTeach(WASTC), BEd(ECU), MEd(ECU), LTCL(Drama) 2008 ii Declaration This Thesis contains no material which has been submitted for examination in any other course or accepted for any degree or diploma in any University. To the best of my knowledge and belief, it contains no material previously published or written by another person, except where due reference is made in the text Signed …………………………………………………………………………… Elvira Sammut. July 2008 iii This Thesis is dedicated to the memory of my Mother, Elena Suarez Gallagher Corbett, whose passion and vision instilled in me her love of reading and her deep belief in education. She travels with me. iv Acknowledgements I would like to express my thanks to Dr. Tarquam McKenna and Dr. Mary Weaven at Victoria University for supervising this thesis. I am very grateful for their generous support, constructive criticism, and many kindnesses. And for the sheer niceness of their manner. This thesis was commenced at Curtin University, Perth, Western Australia. Mention must be made of Dr. Donald Pulford and Dr. Paul Genoni who supervised the drafts of the early chapters. Thank you both. I am grateful to Dr. Felicity Haynes of University of Western Australia for her expertise, help and encouragement in enabling me to complete this project. I am also deeply indebted to Victoria University, Footscray, Victoria, for giving me the opportunity to complete this work.
    [Show full text]
  • Up for Grabs Coprorate Vibes Playtexts 2.P65
    i DAVID WILLIAMSON’s first full-length play, The Coming of Stork, premiered at the La Mama Theatre, Carlton, in 1970 and later became the film Stork, directed by Tim Burstall. The Removalists and Don’s Party followed in 1971, then Jugglers Three (1972), What If You Died Tomorrow? (1973), The Department (1975), A Handful of Friends (1976), The Club (1977) and Travelling North (1979). In 1972 The Removalists won the Australian Writers’ Guild AWGIE Award for best stage play and the best script in any medium and the British production saw Williamson nominated most promising playwright by the London Evening Standard. The 1980s saw his success continue with Celluloid Heroes (1980), The Perfectionist (1982), Sons of Cain (1985), Emerald City (1987) and Top Silk (1989); whilst the 1990s produced Siren (1990), Money and Friends (1991), Brilliant Lies (1993), Sanctuary (1994), Dead White Males (1995), Heretic (1996), Third World Blues (an adaptation of Jugglers Three) and After the Ball (both in 1997), Corporate Vibes and Face to Face (both in 1999) and The Great Man (2000). Williamson is widely recognised as Australia’s most successful playwright and over the last thirty years his plays have been performed throughout Australia and produced in Britain, United States, Canada and many European countries. A number of his stage works have been adapted for the screen, including The Removalists, Don’s Party, The Club, Travelling North, Emerald City, Sanctuary and Brilliant Lies. David Williamson has won the Australian Film Institute film script award for Petersen (1974), Don’s Party (1976), Gallipoli (1981) and Travelling North (1987) and has won eleven Australian Writers’ Guild AWGIE Awards.
    [Show full text]
  • Technologies of Choice: the Shaping of Choice on the World Wide Web Timothy John Graham Bsocwk
    Technologies of Choice: The shaping of choice on the World Wide Web Timothy John Graham BSocWk A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2016 School of Social Science Abstract Nowadays, choice is a ubiquitous aspect of everyday life. The emergence of the web has contributed to this explosion of choice, providing a seemingly endless landscape of goods and services to choose from. Whilst choice is held to be fundamental to individual freedom, wellbeing and self-identity, we currently have little understanding about how websites shape or govern choice, and what this might mean for individuals and society. This thesis undertakes a foundational examination of how choice is shaped in online spaces with respect to the design features and architecture of websites. Websites, or parts thereof, that are designed to enable users to navigate choice and compare between options to make decisions, are defined in this study as ‘Technologies of Choice’ (ToC). In undertaking the study, a phased, mixed methods approach was used. Drawing on several fields of literature, including science and technology studies, Foucaultian social theory, current and emerging social perspectives of choice, and Internet studies, a conceptual framework was developed for examining how choice is constructed and governed on the web. The ToC conceptual framework has four over-arching dimensions: ‘Having Choice‘, ‘Facilitating Choice’, ‘Knowledge Production’, and ‘Configuring Users’. The conceptual framework was then elaborated through an analysis of websites, resulting in 12 ‘sub-dimensions’ and 56 ‘features’. The 12 sub-dimensions categorise sets of ToC features that shape choice in particular ways, for example, the ‘scale’ at which choice is provided or the different ‘characteristics of commensurability’ that make comparisons possible.
    [Show full text]
  • By Neil Simon
    BY NEIL SIMON 22 NOV - 29 DEC 2019 WELCOME Neil Simon’s classic comedy started life in 1965 and ran until 1967, after 964 performances. The spin-off film starring Walter Matthau (the original Oscar Madison) and Jack Lemmon was a huge success followed by a long running television series from 1970-75 with Jack Klugman and Tony Randall. There have been many Broadway revivals, female casting of THE ODD COUPLE roles, and another television series as recently as 2015. So why revisit the play if the idea of two divorced individuals trying to live together and survive is so prominent in our popular culture? The answer is in the breathtaking craftsmanship Neil Simon applied to his plays. The well-rounded believable characters are trapped in situations which bring out the best and worst in humanity. THE ODD COUPLE may have been written in the mid 1960’s but the essence of the relationship between two people poles apart is easily identifiable whether you live in New York or any other place in the world. We laugh at Neil Simon’s ability to make these eclectic characters relatable, but we also get a real sense of his love and affection for this odd couple - even with all their flaws! Enjoy this very special cast bringing to life a very special play. Mark Kilmurry Artistic Director ACT ONE, TWO & THREE The action takes place in Oscar Madison’s apartment, Upper West Side, New York, 1965. CAST CREATIVES SPEED LAURENCE COY DIRECTOR MARK KILMURRY GWENDOLYN KATIE FITCHETT SET & COSTUME DESIGNER HUGH O’CONNOR ROY ROBERT JAGO LIGHTING DESIGNER CHRISTOPHER PAGE MURRAY JAMES LUGTON STAGE MANAGER DANIELLE IRONSIDE FELIX BRIAN MEEGAN COSTUME SUPERVISOR ALANA CANCERI VINNIE NICHOLAS PAPADEMETRIOU DIALECT COACH NICK CURNOW CECILY OLIVIA PIGEOT OSCAR STEVE RODGERS RUNNING TIME APPROX.
    [Show full text]
  • Spring Season Is Sponsored by Bloomberg
    Brooklyn Peter Jay Sharp Building Communications Department Academy 30 Lafayette Avenue Sandy Sawotka of Brooklyn NY 11217 1486 Fatima Kafele Music Telephone: 718.636.4129 Eva Chien Fax: 718.857 .2021 Tamara McCaw Jennifer Lam [email protected] News Release BAM presents U.S. premiere of Sydney Theatre Company's Hedda Gabler, starring Cate Blanchett in her U.S. stage debut-directed by Robyn Nevin BAM 2006 Spring Season is sponsored by Bloomberg Hedda Gabler By Henrik Ibsen Adapted by Andrew Upton Sydney Theatre Company Directed by Robyn Nevin Set designed by Fiona Crombie Costumes designed by Kristian Fredrikson Lighting designed by Nick Schlieper Music composed by Alan John BAM Harvey Theater (651 Fulto n St) Feb 28 at 8pm* Mar 1--4, 7- 11, 14- 18, 21-25 at 7:30pm (note: Mar 1 is press opening) Mar 4, l l , 18 & 25 at2pm Mar 5, 12, 19&26at3pm Tickets: $30, 50, 85 *BAM and Sydney Theatre Company benefit evening. Call BAM Patron Services at 718.636.4182 for tickets. BAMdialogue with Robyn Nevin & Andrew Upton Mar 2 at 6pm BAM Rose Cinemas Tickets: $8 ($4 for Friends of BAM) Brook lyn, NY/January 27, 2006 --Academy Award-winning actress Cate Blanchett (The Avia tor, Eli:::abeth,The Talented Mr. Ripley) makes her U.S. stage debut in the highly acclaimed Sydney Theatre Company production of Henrik Ibsen 's Hedda Gabler, also featuring the U.S. stage debut of renowned actor Hugo Weaving (The Lord of the Rings and The Matrix trilogi es). Adapted by Andrew Upton and directed by Sydney Theatre Compan y Artistic Director Robyn Nevin, Hedda Gabler premiered at Sydney Theatre Company's Wharf 1 Theater on July 27, SPRING 2004, where it enjoyed a sold-out run.
    [Show full text]
  • STUDY GUIDE: Don's Party
    CurrenCy Press STUDY GUIDE The performing arts publisher www.currency.com.au DAVID WILLIAMSON’S DON’s PARTY by John McCallum . Introducing the play 1 2. The critics’ views 1 3. Questions for discussion 1 4. Further reading 1. Introducing the play detail which gives a ‘shock of recognition’ to audiences. All the trappings of an Australian Don’s Party arrived on the theatre scene in middle-class, trendy party are there: the beer, the Australia in 1972 with the same sort of impact Twisties, the home-made pizzas, the bawdy jokes that the character Cooley has when he arrives at and cracking-on by the men, the women talking the party in the play. It was energetic and fun; about their husbands in the corner (although it was exhilaratingly frank and, in the process, the details of their conversation were shocking gloriously obscene; and it deflated a lot of the to some in 1972) and the gradual decline into pretensions of the new young professionals who drunken argument. The play caused a national came to the theatres and who are represented in wave of confession by people who said that they’d the play. Above all, for the critics and audiences been to parties just like that. at the time at least, it was Australian. As the The characters are, or were, a perfect selection critic H.G. Kippax said, ‘There isn’t a line, and not a of types of a certain class of Australians. They character, that hasn’t the ring—just off-key—of represent the new professional class of teachers, one part of Australia, larger than life.’ psychologists, lawyers and others whom one This accurate social observation of Australian social commentator has called ‘sons of ocker’.
    [Show full text]
  • Julie Andrews
    L MEDIAERNER AND LOKITEWE’S Directed By JULIE ANDREWS © AL HIRSCHFELD. Represented exclusively by the MARGO FEIDEN GALLERIES LTD. Alhirschfeld.com MEDIA KIT Ground-breaking, glorious and grand... Celebrating the beloved original, Lerner and Loewe’s My Fair Lady comes to the Sydney Opera House in August 2016, under the direction of Dame Julie Andrews. In the show’s 60th anniversary year, Opera Australia and John Frost join forces to honour the past and bring the beloved story of Eliza DoolittleLE and Henry Higgins to a new generation of theatre audiences. RNER A The Cinderella story about the Cockney flower girlN DEliza L ODoolittleEWE and’S the appealingly arrogant phoneticist, Professor Higgins, is an endearing tale that charms audiences with its warmth and vivid characters. The clash of cultures sparks some of the theatre’s most jubilant songs and witty dialogue. The triumphant score features unforgettable numbers including Wouldn’t It Be Loverly?, On The Street Where You Live, I Could Have Danced All Night and Get Me to the Church on Time. In 1956, Alan Jay Lerner and Frederick Loewe’s masterful retelling of George Bernard Shaw’s Pygmalion took the world by storm. Playing the irresistible Eliza Doolittle was a young Julie Andrews, in only her second role on Broadway, a role that would catapult her into international stardom. In a world first, Dame Julie Andrews will direct a glorious production of My Fair Lady, teaming up with the Tony Award-winning Christopher Gattelli and associates of the musical’s original designers Cecil Beaton and Oliver Smith. Directed By A stellar cast of Australian theatre royalty and emerging talent will be showcased in this truly momentous production.
    [Show full text]