NATIONALHumanities ENDOWMENT FOR THE HUMANITIES • VOLUME 9 • NUMBER 4 • JULY/AUGUST 1988

Adaptations for Film and Radio test* Humanities

Editor's Note

Stories in Another Medium

What happens to literature when adapted for film and radio? Is the meaning of the original distorted by the time constraints of television and radio and by the tendency of these electronic media to present information selectively? Or does the addition of sound and visual imagery enhance the work's im­ pact and thereby encourage the audience to read it in its original form? In adapting Booth Tarkington's novel The Magnificent Ambersons to the screen, Or­ This issue of Humanities takes a look at how producers of radio and televi­ son Welles directed wide-angle views of the sion adaptations of literature have dealt with the challenge of presenting the ballroom scene to convey the size and opulence text in another medium. In "Midwifery: Adapting Prose Fiction for the Radio," of the Amberson mansion. (RKO Pictures) Everett Frost examines what is gained and what is lost in translating prose fiction from the genre of printed text to the genre of radio. Lawrence Pitkethly describes how the television series, Voices and Visions, uses "the Humanities principal medium of communication in our culture to extend poetry's read­ A bimonthly review published by the ership." In "Isaac in America," James David Besser explores the particular National Endowment for the Humanities challenges of interpreting for a television audience Isaac Bashevis Singer's Chairman: Lynne V. Cheney stories of internal conflict and intellectual turmoil. How a television docu­ Director of Publications mentary can provide balanced coverage of a divisive period in China's histo­ and Public Affairs: ry is outlined in the Humanities Guide description of a "Persuasive Pro­ Marguerite Hoxie Sullivan posal: Documenting China in Revolution." Assistant Director for Publications A rich field of early motion pictures awaits scholars wishing to examine and Editor: Caroline Taylor how the first filmmakers adapted literature and drama to a new medium. Assistant Editor: James Turner "The (Not So) Magnificent Ambersons" takes a closer look at Orson Welles's Production Editor: Scott Sanborn adaptation of Booth Tarkington's novel of life in a small Midwestern town at Production Assistant: Susan Querry the turn of the century. Research by film scholar Robert Carringer seems to Circulation Manager: Joy Evans suggest that one of Hollywood's worst cases of a "butchered" film had se­ Editorial Board: John Agresto, Marjorie Berlincourt, rious flaws to begin with. And "Cecil B. DeMille before the Spectacle" ex­ Harold Cannon, Richard Ekman, plores a period in the movie mogul's career when he made serious art films. Donald Gibson, Guinevere Griest, Before the printed page, stories were often told in embroidery and tapes­ Jerry Martin try. In "The Bayeux Tapestry's Subversive Secrets," Kathi Ann Brown ex­ Design: Hausmann/Krohn, Inc. plores the story beneath the story: a hidden message telling the Anglo- Saxon version of the Norman Conquest. The opinions and conclusions expressed in As scholars continue to explore old issues and to interpret them through Humanities are those of the authors and do not different media, their efforts abroad are often aided by American research necessarily reflect Endowment policy. Material appearing in this publication, except for that centers. Mary Ellen Lane provides a brief history of some of these centers already copyrighted, may be freely repro­ and the services that they provide to scholars in "American Research Cen­ duced. Please notify the editor in advance so ters Overseas." Accompanying articles on the American Academy in Rome that appropriate credit can be given. The Chairman of the Endowment has determined and the American Schools for Oriental Research describe in more detail the that the publication of this periodical is neces­ scholarly community that is created when Americans work in concert with sary in the transaction of the public business host-country scholars on endeavors ranging from archaeology and classical required by law of this agency. Use of funds for printing this periodical has been approved studies to foreign languages, literature, and history. by the director of the Office of Management Although film, radio, and television provide new ways to interpret liter­ and Budget through September 1988. Send ature and historical events, the questions of interpretation remain the same: requests for subscriptions and other commu­ nications to the editor, Humanities, National how to remain true to the original while translating to another medium, how Endowment for the Humanities, 1100 Penn­ to lend authenticity to the portrayal of characters and events for which no vi­ sylvania Avenue, N.W., Washington, D.C. sual or oral record exists, and how, finally, to encourage audiences to dis­ 20506. Telephone 202/786-0435. Annual sub­ scription rate: $9. (USPS 521-090) ISSN cover these answers within the original works themselves. 0018-7526. —Caroline Taylor

2 Contents

Broadcasting Poetry and Prose

4 Midwifery: Adapting Prose Fiction for the Radio by Everett C. Frost. Imagining fiction with the ear as well as the eye.

8 Isaac in America by James David Besser. Preserving the narrative style of Isaac Bashevis Singer on television.

10 The (Not-so) Magnificent Ambersons by Caroline Taylor. Was the uncut version of Orson Welles's film better?

14 Cecil B. DeMille before the Spectacle by Elizabeth J. Sherman. Exploring DeMille's early career with artistic films.

18 Poetry on Video by Lawrence Pitkethly. Using television to extend poetry's readership.

Scholarly Research Overseas

27 American Research Centers Overseas by Mary Ellen Lane. A survey of centers overseas and how they help scholars.

31 American Schools of Oriental Research by Linda Butler. Advancing American scholarship and research in the Middle East.

33 The American Academy in Rome by Hrach Gregorian. Serving scholars from a variety of disciplines since 1902.

Features

22 The Bayeaux Tapestry's Subversive Secrets by Kathi Ann Brown. Anglo-Saxon weavers of the tapestry left a hidden m essage.

The Humanities Guide The Persuasive Proposal: Documenting China in Revolution 37/Recent NEH Grants by Discipline, 40/Deadlines, 46

3 Listening to the radio, like reading a novel, unlocks the visual imagination and stimulates the active, not passive, engagement of the listener." MIDWIFERY: Adapting Prose Fiction for the Radio

BY EVERETT C. FROST

The man bent over his guitar, has both hazards and advantages. In moves toward a climax and resolu­ A shearsman of sorts. The day was green. considering them I draw heavily on tion. What gets lost in the "transla­ my experience in radio, but my re­ tion" is the leisurely, ruminative, They said, "You have a blue guitar, marks include television and film as quality of fiction. You do not play things as they are." well. Media drama is generally subject Prose fiction thrives on the lei­ to the further concisions imposed by The man replied, "Things as they are surely development of character, set­ program formats—the current con­ Are changed upon the blue guitar." ting, and theme through descrip­ vention being half-hour lengths for tion, reflection, discussion, and radio and one-hour lengths for tele­ —Wallace Stevens analysis. It can present a dramatic vision. Sometimes longer periods are "The Man with the Blue Guitar" situation and take the time to com­ afforded by specials (such as Ameri­ ment on it. A narrator is free to can Playhouse), but more often ex­ range back and forth in time, in and tended lengths are achieved by se­ d a p t in g p r o s e f ic t io n — out of the minds of the characters, rialization. Time constraints and the A whether for radio, television, and, variously, to present, summa­ desirability of presenting a complete or film—is an act of translation from rize, or comment on the action. But story in a single broadcast make one genre to another: from printed media drama, being a form of short stories and novellas ideal can­ text meant to be read to dramatized drama, is an imitation not a descrip­ didates for dramatization. Longer media production meant to be seen tion of an action, and the action (or works need to be assured of enough and/or heard. The requirements of plot) occurs through characters episodes to convey them properly, one genre are not entirely compat­ speaking dialogue. Action that took and each episode needs to be con­ ible with those of the other, and—as place in the past is reported by char­ structed as a dramatic unit. The texts with any other act of translation— acters speaking in the present or in­ themselves help with this effort: Au­ something of the original inevitably corporated as a "flashback." Even thors of long works were aware that gets lost. But if the adaptation is adopting the expedient of a narrator they would not be read in a single done sensitively and well, aspects of to convey something of the rumina­ sitting; indeed, many novels were the original that lie latent on the tive descriptive passages of a novel themselves published serially in the page are also found and illuminated cannot entirely resolve the problem. first place. in the process. Dramatization, then, When used excessively for this pur­ This line of investigation suggests pose, the narrator takes away from that fiction heavily invested in plot the dramatic action that is the central and situation, using conventional Everett C. Frost is a professor in the De­ requirement of the drama and over­ types as characters, adapts more partment of Television and Film at New burdens it with more nondramatic readily than fiction deeply invested York University and a producer of the material than the genre can bear. in the exploration of genre and style. WGBH radio series of adaptations of The result becomes undramatic and What would survive an adaptation of nineteenth-century American fiction, wooden. For drama is subject to rad­ Joyce's Finnegans Wake or Stein's The The WEB: Young People's Radio The­ ical concisions: The characters are Making of Americans, to take extreme atre, which has received NEH support. motivated by conflict, and the action examples for purposes of illustration,

4 is probably not worth having. The they are carefully and accurately re­ best strategy for putting them on the searched, it is advantageous to see radio would be to read from them. such things as costumes and set­ In a good adaptation of Madame tings. Our experience with Madame Bovary, something of Flaubert's wit, Bovary or Anna Karenina or David style, and descriptive acuity will get Copperfield is informed by a sense, lost, as does something of the richly derived from film and television, of complex ambiguity of Emma's char­ what the architecture, landscape, acter. It is those aspects of her char­ and clothing looked like. Yet, visual acter connected with the drama and concreteness may provide a roman­ the boldness of her action that can be ticized or distorted image instead of conveyed by adaptation—as can the a clearer one. Sometimes it is reduc­ Wilding Faith by Photograph WGBH ofCourtesy less complex character of Charles tive: A whole generation of televi­ and the marvelous caricatures of sion viewers has grown accustomed subordinate characters such as the to thinking of Sherlock Holmes as pharmacist Homais and Emma's looking like Jeremy Brett, just as an lover, Rudolphe. An adaptation earlier generation was persuaded would remain a character study, but that Holmes looked like Basil its center of gravity would shift from Rathbone. And for those of us the aesthetic or philosophical to the whose image of the detective was social, dramatic, and historic. formed by Rathbone, Brett took Works such as Little Women or The some getting used to. The pictorial Red Badge of Courage in which the dimension of visual media, then, novel and its plot are, to some de­ may inform the imagination. It may gree, a vehicle to convey the moral also mislead it or confine it. Everett Frost (left) and Perry Carter, recording engineer (right), persuasions of the author or the hu­ As an aural medium, radio is free tape a session of The Spider's Web. Series originator Frances man drama of historical circumstanc­ of these visual hazards and able to Shrand stands at the tape recorder. es adapt more readily than fiction be truer to the experience of the orig­ whose strength resides in the un- inal work than either television or translatables of genre and style. Pop­ film. As Rudolf Arnheim noticed ular fiction and fiction with strong nearly a half-century ago in his ex­ polemical persuasions may some­ traordinary book, Radio: The Psychol­ times actually be strengthened from ogy of an Art of Sound (Da Capo the imposition of concisions required Press, 1972), the "sounds and voices by media adaptation—a principle (on the wireless) were not bound to that Gone with the Wind may be seen that physical world whose presence to illustrate. Elisabeth Stuart Phelps's we first experience through the eye, best-selling nineteenth-century nov­ and which, once perceived, compels el, The Silent Partner, is an emotional­ us to observe its laws, thus laying ly compelling outcry against working- fetters on the spirit that would soar class conditions and the status of beyond time and space and unite ac­ To capture rural sounds for The Spider's Web, producers took women in the mid-nineteenth- tual happenings with thoughts and their microphones and recording equipment to Fairwinds Farm century knitting mills around Bos­ forms independent of anything cor­ in Brattleboro, Vermont. ton. The dramatization for the radio poreal. " In a more recent study, series The WEB: Young People's Radio Mind and Media: The Effects of Televi­ Theatre, which pared away the now- sion, Video Games, and Computers dated rhetoric, made the novel no (Harvard University Press, 1984), Pa­ less compelling but much more ac­ tricia Marks Greenfield observes cessible to contemporary audiences. that, while television is a more po­ What is gained in the translation tent medium for communicating in­ from fiction to media drama is live­ formation to children, radio more ef­ liness, vividness, and immediacy— fectively develops an active response the naive, profound, and compelling and verbal skills: "In sum, radio is sense that the story is actually un­ like print in that it presents and folding before us in a reality to therefore fosters an articulate verbal which we are privileged witnesses, style of communication." Listening with the characters "really there" as to the radio, like reading a novel, living presences. In visual media, unlocks the visual imagination and what is made vivid is also made con­ stimulates the active, not passive, crete; and this, too, has both advan­ engagement of the listener. tages and hazards. In this sense, listening to drama This is particularly the case with on the radio echoes the now almost realistic works whose time and set­ forgotten family habit of sitting ting are remote from our own. If around the hearth and reading

5 tation becomes widely known or in­ fluential, it may result in many peo­ ple feeling persuaded that they "know" the original work from hav­ ing experienced an adaptation. Con­ sequently, the place of the original in cultural life is distorted. It is a diffi­ culty that predates media: Some eighteenth-century stage adaptations of King Lear ended with Lear and Cordelia, still living, reconciled— thereby depriving audiences of the terrible tragic force of that play. Uncle Tom's Cabin has become a dif­ ficult book to discuss in our racially sensitive time with its chief character an image of cruel racial stereotyping and degradation. But the difficulty in seeing Tom clearly, I am persuaded, does not derive from Harriet Beecher Stowe's radical delineation of a powerful Christ-like black man who uses what we would now call non­ violent civil disobedience to break Si­ Everett Frost reviews a scene with James Earl Jones (right), who portrays Tom in Uncle Tom's Cabin. mon Legree's power and free slaves. Rather, it derives from nineteenth- century popular adaptations of the aloud or the now virtually extinct a work of fiction in its own right and novel into a stage play that turned oral traditions in which epic yarns the requirements imposed by the Tom into a meek and ineffectual ca­ like the Iliad were sung by profes­ medium. When this dialectic tension pitulator so as to illustrate the harm sional bards like Homer. This is the is approached from a slavish loyalty done by slavery to gentle and help­ tradition before writing, before to the text that overburdens the me­ less folk. Well-motivated as these ad­ drama, in which literature itself has dium with untransformed fictional aptations might have been, they its roots. (In principle, there is no material that it is ill-equipped to han­ have resulted in an inaccurate per­ reason why literary works cannot be dle, the result is wooden drama. ception of the character of Tom from simply read aloud, unadapted, on When it is approached from an es­ which he has not yet recovered. the radio, although regrettably, it is sential loyalty to the medium that re­ Adaptation is not only a matter of seldom done, despite the fact that gards the text and its literary integ­ translation or midwifery from one the cassette market for tape-recorded rity as raw material—a mere starting medium to another, it is also a form books thrives, suggesting that there point—the result is distortion. The of interpretation; and the act of inter­ is an audience for such things.) dramatist's function most closely cor­ pretation implicit in dramatization Dramatizing a work of fiction, as responds to that of a midwife deliv­ has social consequences. In creating opposed to simply reading it aloud, ering the story, not that of either a adaptations of nineteenth-century has the advantage of the full use of mother giving birth to it or a morti­ American fiction for the WEB, the is­ radio's powerful potential for mental cian embalming it. sue of adaptation was an aspect of drama—drama that takes place in This responsibility of the dramatist our work over which we took great the mind of the auditor—with the is not always adequately understood. pains. We coped with the problem added capability of enhancing and In his widely used text, Screenplay: by employing literary scholars who clarifying the action through the use The Foundations of Screenwriting (Dell were also skilled creative writers as of soundscapes, sound effects, and Publishing Co., 1984), Syd Field re­ dramatists. In dramatizing Herman music. The characters and the drama marks: "An adaptation must be Melville's Billy Budd, for example, take on a life that is immediate and viewed as an original screenplay. It Marvin Mandell had to address the present. But this necessarily requires only starts from the novel, book, complex critical question of whether more than merely condensing the play, article, or song. This is source Captain Vere was right in putting his novel and eliminating the "he saids" material, the starting point. Nothing own sentiments aside and persuad­ and "she saids" as a simple expedi­ more. When you adapt a novel, you ing the drumhead court to execute ent for allowing the parts to be spo­ are not obligated to remain faithful Billy or whether he was an exces­ ken by actors. It requires rethinking to the original material." sively rigid authoritarian. Mandell the work according to the require­ But when fidelity to the original adopted the strategy of having the ments of the genre (drama) and the material is not a concern, the result tale recounted by the lieutenant who medium (radio or television) in is an independent media play based had first impressed Billy into mili­ which the adaptation is to appear. on or inspired by the original, not an tary service and who, of course, sat There is a dialectic tension be­ adaptation of it. When such work as a member of the court. This per­ tween the requirements imposed by passes for adaptation and the adap­ mitted concision (for drama) of

6 Vere's excessively lengthy mono­ lines with the sound of the sea com­ Aloft in the air, as if from the depths of logues to the court and, at the same ing to them on headphones so that the cloud, came a confused and doubtful time, allowed the lieutenant to use they had to speak above the roar of sound of voices. Once the listener fan­ Melville's comments concerning the waves. cied that he could distinguish the accents of towns-people of his own, men and them. Because it was essential to Not everything need always be so women, both pious and ungodly, many Billy's character that he be virtually dramatic. Radio works impressionis­ of whom he had met at the communion tically as well. The listener will fill in nonverbal even in the aural medium table, and he had seen others rioting at of radio whose chief tool for drama the full scene from a few well-placed the tavern. The next moment, so indis­ is words, the narrative strategy also suggestive sounds. A few teacups, tinct were the sounds, he doubted permitted Melville's essential de­ spoons, and water poured from a whether he heard aught but the murmur scriptions of Billy and his behavior. teapot evoked the genteel parlor of of the old forest, whispering without a Mandell also developed emotional the Widow Douglas in Huck Finn, wind. Then came a stronger swell of sympathy for the "handsome sailor" and the March's living room in Little those familiar tones, heard daily in the (unseen on radio) by establishing a Women. The lush, continuous, and sunshine at Salem village, but never un­ musical theme to accompany him endlessly varied sound of the river til now heard from a cloud of night. There was one voice of a young woman, and indicate his presence, which the throughout much of Huck Finn poi­ uttering lamentations, yet with an uncer­ composer turned into an ethereal gnantly conveyed the sense of its tain sorrow, and entreating for some eternal, peaceful, and sometimes an­ flute line. favor, which, perhaps, it would grieve Marvin Mandell's adaptation of gry presence. Twain's exquisite de­ her to obtain; and all the unseen multi­ Billy Budd illustrates how what is lost scriptions became instructions for re­ tude, both saints and sinners, seemed to in the conversion of prose to drama alizing the soundscape of the drama. encourage her onward. can be recreated in dramatic form In this respect, Twain was not through an imaginative use of the unique. As we worked our way And at the climax of the story: unique characteristics of the medi­ through the dozens of authors and "The whole forest was peopled with um. Radio, for example, has a stories that were ultimately included frightful sounds— the creaking of the unique ability to present the interior in the series, I was astonished and trees, the howling of wild beasts, processes of the mind itself in dra­ delighted to discover how richly and the yell of Indians; while some­ matic form—a potential explored they imagined with the ear as well as times the wind tolled like a distant magnificently by Samuel Beckett in with the eye. For me it opened up a church bell, and sometimes gave a such radio plays as All That Fall, Em­ whole new dimension of apprecia­ broad roar around the traveler, as if bers, and Cascando. tion—one to which I had been deaf all Nature were laughing him to In dramatizing Stephen Crane's when I encountered these works as scorn." The Open Boat, Jordan Pecile centered a student and which I was deter­ These passages went unaltered the action inside the mind of the mined to use the unique powers of into the script, not as dialogue or chief character, the reporter. This radio to illuminate. narration, but as sound-effects in­ provided an opportunity to pre­ As Hawthorne's young Goodman structions. More than any other me­ serve, in dramatic form, much of Brown proceeds deeper and deeper dium, the radio could lift them off of Crane's description of the sea, the into the forest to his midnight en­ the page and give them a life that moods of the characters, and the counter, the text reads: they had not had before. & philosophical speculations on man, nature, and fate that were occa­ sioned by the ordeal of having been marooned at sea in a small lifeboat. Radio also has at its disposal the full panoply of sounds and sound ef­ fects to set scenes, contribute to the action, and evoke mental images in the mind of the listener. Sound ef­ fects can be used on a grand scale to create epic action in the mind of the listener— sometimes more vividly, and certainly more cheaply—than elaborate stunt shots in film. In our production of The Open Boat, we em­ bedded the interior perspective in the continuous, ominous, heave of the waves and the ever more weary clunk, clunk of the oars that keep the boat from capsizing. To syn­ chronize the rhythms of the breath while speaking and rowing at the same time, we dragged a boat into the studios, and, yes, the actors ac­ To achieve verisimilitude in acting and sound effects for Stephen Crane's "The Open Boat," actors read tually rowed while speaking their their lines while rowing a boat in the recording studio.

7 ISAAC IN AMERICA

BY JAMES DAVID BESSER

HE STORIES OF Isaac Bashevis The seeds for Isaac were planted tradition. "I felt a tremendous reso­ T Singer are filled with ghosts. To more than a decade ago. Nowak, to­ nance in his materials that I wanted the Nobel Prize-winning author, gether with his partner and wife to explore," Nowak says. "And there imps, dybbuks, and spirits of an infi­ Manya Starr and producer Kirk Si­ is the profound vein of mysticism nite variety are part of the fabric of mon, realized that although Singer's that is very much in tune with my life, not relics of a more primitive stories were being published in pop­ own feelings." time. This ghostly imagery is also ular magazines like the New Yorker, The project began with $25,000 in bound up in the haunted language his idiosyncratic fiction had never seed money from NEH. Nowak and of Singer's writing; for Yiddish, the been presented on television. Pre­ Starr worked with a panel of schol­ mother tongue of Hitler's victims, is vious attempts by other filmmakers ars, including several prominent ex­ the voice of a culture all but wiped to adapt Singer's work for theatrical perts in Jewish studies who helped out in the Nazi death camps. film audiences had not been success­ to clarify Singer's pivotal role in por­ In his richly textured fiction, Sing­ ful. A film adaptation of Singer's traying a world that no longer exists. er evokes for readers this vanished complex novel, The Magician of "Originally, we planned to pro­ world, suspended between the cafes Lublin, was a critical and box-office duce six stories," Nowak says. "We of Warsaw and the park benches of disaster. The Barbra Streisand musi­ planned to use Singer himself as a Coney Island. And Singer himself— cal based on Singer's classic Yentl the kind of Yiddish Alistair Cooke; the irascible, funny, and creative— is Yeshiva Boy received a mixed recep­ stories would be fully dramatized evoked with warmth and clarity in tion. Nowak was certain he could do against the backdrop of his com­ the documentary film by Amram more to capture Singer's unique mentary. We decided to concentrate Nowak, Isaac in America, which has voice on film. on Singer's New York stories, which received support from NEH. Nowak, who speaks Yiddish, was are his most autobiographical." attracted by the folkloric quality of Although the first production, The Singer's literature. The stories are Cafeteria, was highly acclaimed, No­ James David Besser is a freelance writer complex and multi-layered, but each wak and Starr realized that a series in Washington, D.C. has the narrative texture of the oral of six was financially infeasible. But the problem was more than money. In adapting The Cafeteria for the small screen, they began to understand why the qualities that make Singer unique as a writer also make his sto­ ries exceptionally difficult to film. Singer's stories revolve around characters whose turmoil is pri­ marily intellectual: a professor who struggles with his desire to live out the ideals of Spinoza, a Talmud prodigy who plunges into the treacherous waters of the meta­ physical. Brooding and internal con­ flict are qualities that do not come across well in a medium that de­ pends on action and dialogue. The second story in the projected series posed an even greater chal­ lenge. A Day in Coney Island de­ scribes a few hours in the life of a young Yiddish writer who has fled Isaac Bashevis Singer in front of the old Sterling Cafeteria, the model for "The Cafeteria." During the dramatiza­ from the looming tragedy in Europe. tion of the story in 1986, removal of a restaurant sign for new construction revealed the old cafeteria sign. Singer, He is uncertain he will be permitted who had forgotten the location of the original cafeteria, saw this revelation as another mystical aspect of reality. to stay in the United States, and his

8 ma Nwk soits Inc. Associates, Nowak Amram

Now in his eighties, Singer is the world's foremost Yiddish author. He considers himself to be a storyteller and writes about characters whose turmoil is primarily intellectual. only source of income is the money This formula posed some difficult would be one of the last never oc­ he receives for the literary sketches challenges. "We had to decide such curred to me." And he talks about he writes for a Yiddish newspaper. basic questions as whether to use ac­ his writing: "There is no message in He is constantly disappointed in tors and dialogue in the story seg­ what I am writing. You will read it himself—not because of any gross ments," Nowak said. "We finally de­ and create your own message. I indiscretions, but because of his cided against actors because the don't have to do EVERYTHING for failure to live up to the standards de­ story—like so many other Singer sto­ you." manded by his philosophy. ries— was written in a highly nar­ From Nowak's point of view, Isaac As raw material for a television rative style. We didn't want to lose in America has been a rousing suc­ production, Nowak realized, the sto­ that flavor." cess. The film was premiered at the ry was limiting. "At the same time, I In the final production, the drama­ prestigious New York Film Festival was beginning to understand that tized sequences were filmed from the in 1987 and was selected from a field Singer himself was very little narrator's point of view as if the cam­ of more than 400 documentaries for known, except through his stories. era represented his field of vision. A an Academy Award nomination that And I felt this was a real loss." variety of visual devices suggested same year. The film was also selected The result was a hybrid—a docu­ action in the absence of actors. Props as the premier presentation of the mentary about Singer and his work, became critical; a half-eaten roll, a second year of PBS's American Mas­ fleshed out with a scaled-back adap­ steaming cup of coffee, a curtain ters series of biographies of artists. tation of the autobiographical short blowing in the breeze, all were used "Singer is a particularist," Nowak story. The film integrates glimpses of to convey a sense of activity. says. "He writes about his own Singer as he is today—working with It took nine months to edit this world. But he has deep insights into his translator, speaking before vari­ cinematic tapestry into a seamless human nature, and he can express ous groups, visiting landmarks from whole. The result is a film that glides them with extraordinary power." his past—with the shell of the short between fact and fiction, present and "Of course," adds Starr, "Singer story, which evokes Singer as he was past. Isaac Bashevis Singer, now in thinks of himself primarily as a story­ in 1935. his eighties, is evoked in all his won­ teller. And when people all over the "We did not want critics, talking derful complexity. In the documen­ world watch our film, they say, 'We heads, or people describing what a tary segments, he displays his still- know these stories.'" great writer Singer is," Starr says. active sense of humor: "We MUST "We wanted Singer to talk about believe in free will," he says in re­ himself and for the story to amplify sponse to a question. "We have no For "Isaac in America/' Amram Nowak that in a way that pure narration choice." He describes his feeling of received $190,000 in outright funds from could not. By incorporating the sto­ loss over the demise of the world the Humanities Projects in Media Pro­ ry, we wanted to give the audience an that his stories document: "That all gram of the Division of General Pro­ inkling of the quality of his writing." these people would die out and I grams in 1982.

9 The

(Not-so) Magnificent Pictures RKO by photosAll

HOLLYWOOD'S MOST AMAZING CITIZEN N O W BRINGS YOU HIS Ambersons SUCCESSOR TO "CITIZEN KANE

BY CAROLINE TAYLOR

S WITH A written work, film more than 150 responses filled out at A editing treads a fine line. The the end of the film, three-fourths deletion of extraneous and repeti­ were negative. The film was long O rso n W e ll es' tious material, the rearrangement of and drawn out. It was too slow. The Magnificent the. order in which certain events oc­ There was very little action, and no cur, and other editorial techniques definite climax. Ambersons can either enhance the quality and Was one of film's greatest master­ Starts August 13th at CAPITOL Theatre, Broadway bet. 50th & 51st St., New York impact of the original or ruin it. The pieces butchered, or did it really two most famous examples of films need drastic surgery? The purpose In an unusual move for the time, RKO pro­ moted The Magnificent Ambersons on its that were allegedly "butchered" in of Carringer's edition is to present controversial director's reputation. This New the editing process are Greed (1924), readers with enough information Yorker ad touts Welles's multiple talents. Erich von Stroheim's legendary nine- from as many sources as possible so hour epic based on Frank Norris's that they can make up their own mother abroad, where she falls ter­ McTeague, and Orson Welles's The minds about the Ambersons legend. minally ill. Shortly after their return, Magnificent Ambersons (1942). Based on Booth Tarkington's novel she dies. Naturally, George and "Legend has it that both Greed and of the same name, the film traces the Lucy's developing romance was dis­ Ambersons are clear and simple cases decline of the once proud Amberson rupted by the trouble between of crass commercialism overriding family, who rule a Midwest town George and Eugene. Toward the end artistic prerogatives," says Robert (modeled on Tarkington's Indianapo­ of the novel, George is struck by an Carringer, professor of English and lis). The film delineates the shift automobile and hospitalized, and all film at the University of Illinois at from agrarian to technological soci­ are reconciled. Urbana-Champaign. "The studios ety that was occurring around the The movie does not end with such took the work out of the hands of turn of the century. As the Amber­ finality, says Carringer. Instead of the artists, totally recut it without sons' feudal, agrarian power wanes, showing the reconciliation, Welles any input from them, and released it the power of automobile manufac­ only reveals it obliquely in a conver­ in a form that did not accord with, turer Eugene Morgan, who repre­ sation between Eugene Morgan and and even went contrary to, the au­ sents the twentieth century, in­ George's maiden aunt. "Orson," ac­ thors' intentions." In the course of creases. By the end of the novel, the tor Joseph Cotten is reported to have preparing a one-volume scholarly two families—Ambersons and Mor­ said, "this may be good Chekhov, edition of the original uncut Amber­ gans—have changed places. but I'm not sure it's what this story sons with NEH support, Carringer "The two plots intersect with the needs." has come to have reservations about mother in the Ambersons family and After a second problematic pre­ parts of the legend. "I now believe the father in the Morgan family," view in Pasadena on March 19, stu­ there were serious problems with says Carringer. "Eugene as a young dio head George Schaefer decided the original version of the film, man was in love with Isabel Amber­ that the film needed radical surgery. which was first previewed in son. Although the two have always Welles was out of the country mak­ Pomona on March 17, 1942." loved one another, she marries ing a film, cosponsored by RKO and The audience became restless. someone else." Twenty years later, the State Department as part of an There were shouts, laughter, and the widower Morgan returns with a overall program to promote hemi­ jokes. Many viewers walked out. Of nineteen-year-old daughter, Lucy, spheric relations. In Carringer's and renews his courtship of Isabel, opinion, the only person who could who has recently become a widow. do the massive restructuring neces­ Caroline Taylor is the editor of Isabel's son George violently op­ sary to salvage the film in anything Humanities. poses their marriage and takes his close to its original conception was

10 Welles. To bring him back probably would have meant abandoning the South American project on which several hundred thousand dollars had already been spent. Ambersons itself was over budget, costing more than $1 million compared to an esti­ mate of $800,000, and the studio had to cut its losses. Robert Wise, the film's editor who had assembled the preview version according to Welles's instructions and who knew the film better than anyone else, next to Welles, was brought in and told, "Cut it in releasable form." Wise and Joseph Cotten, who played Eugene Morgan in the film, proposed a scheme to Welles for re­ cutting the picture. Welles's response was that he could not see the "remotest sense in any single sug­ gested cut." Then he suggested shooting insert footage showing all the characters living happily ever after. Later, he began sending tele­ grams running thirty and forty pages in length with suggestions for changes in the editing. But by this time, explains Car­ ringer, Wise had already been given orders to recut the film along with absolute discretion to exercise his own judgment. "Wise has told me that he accommodated Welles's wish­ es wherever he could," says Car­ ringer, "but he made the final deci­ sions himself." Wise removed more than fifty With a three-dimensional model on the table beside him and research photographs on the wall, minutes, and he and others reshot Orson Welles examines blueprints for the Amberson mansion.

AMBERSON MANSION—VERANDA—George sitting up on steps at left FG looking off thoughtfully—Music heard— Vision of Lucy comes on at right— Kneeling—Holds out her hands to him— She talks— Pleadingly—Music heard—

LUCY George, you must forgive me! Papa was utterly wrong! I have told him so, and the truth is that I have come rather to dislike him as you do, and as you always have, in your heart of hearts. GEORGE Lucy, are you sure you understand me? You say you understand me, but are you sure? LUCY Oh, so sure! I shall never listen to Father's opinions again. I do not even care if I never see him again! GEORGE Then I pardon you.

Actor Tim Holt, as George, posed for his Lucy fantasy scene (see script at right). In Her vision exits—He leans back— the completed film, Lucy's image would have been superimposed by special effects on the right side of the frame. George's unpleasant character evoked intense hostility in preview audiences, which may be why this scene was cut.

11 For the 88 minutes that do sur­ vive, Carringer changed any out­ right inaccuracies in the cutting con­ tinuity. If a description in the cutting continuity was ambiguous, he clar­ ified it. He also attempted to make the descriptions more comprehen­ sive of the contents that appear on the screen. Finally, Carringer added any stylistic descriptions that were missing from the cutting continuity. The scene in which Eugene and Lucy Morgan enter the Amberson mansion and Eugene sees Isabel for the first time in twenty years is an example. The cutting continuity for this scene gives its usual sparse notes, totally ignoring the fact that the shot is one of the most magnifi­ cent in the film. "The camera is 200 feet away as Eugene and Lucy first enter the mansion. Isabel hasn't seen Eugene yet. The camera slowly moves in that direction. In those 200 feet as the camera advances, other things happen; people cross the line of vision, different people talk. The stylistic effect is Eugene staring at Is­ After the disastrous preview showings of The Magnificent Ambersons, RKO studio head abel. Finally, as the camera comes George Schaefer sent this confidential letter to Welles in Rio de Janiero. close, she turns and sees him for the first time, and they exchange a look several scenes. The film was then whenever a film is completed and of love." condensed to 88 minutes and pre­ ready for release. "The cutting conti­ In supplying missing material, viewed at Long Beach in June. This nuity is an internal studio document Carringer was careful to follow the time it was not as objectionable to intended strictly for technical pur­ verbal conventions and idiom of audiences, Carringer reports. "There poses," Carringer explains. It is the 1942 studio practices so that there weren't these wild catcalls or angry studio's official written facsimile of would be no break between the sur­ reactions, although if you watch it in the film and is used for, among other viving parts and those that are miss­ its present form, it's just a mess in things, copyright registration. ing. At the same time, he was break­ the second half. In effect, Wise took Within the cutting continuity, in ing new ground. the last forty minutes and moved some form or another, are the 88 "Textual scholarship is a relatively most of it to an earlier part and in­ minutes that appear on the recut new craft in film studies," Carringer serted it. There's no rhyme or reason version. Carringer also had access to points out. "We are just beginning to for the succession of scenes. Al­ the 88-minute film. "My problem in ask in scholarly terms about the though the first thirty minutes were working with the cutting continu­ state, accuracy, and propriety of edi­ untouched except for some excess ity," he says, "is that the transcrip­ tions. All kinds of problems, some footage, there is a point at which the tions convey none of the film's aes­ similar to those I have just re­ continuity ceases to make any sense thetic qualities. You have a rather counted, must be solved. at all. shorthand rendition, full of errors. "There have been dozens of major "You can spot places where scenes For example, one scene will be de­ films that were cut as mercilessly as were inserted. And great chunks of scribed as 'man in left background. Ambersons, and the process con­ rather gloomy and depressing mate­ Autos pass. Noise of autos heard.'" tinues to this very day. For scholarly rial dealing specifically with the de­ In preparing scholarly editions, editions, what is the correct text? cline of the Ambersons were re­ however, one must attempt to re­ How do you get at it? If it doesn't ex­ moved. Taking out these scenes left main as true to the original as poss­ ist, how do you reconstruct it?" huge gaps"—gaps that Carringer ible. Carringer had to create his own Carringer also cites another prob­ had to restore in written form in his editorial guidelines, which are ex­ lem unique to film studies. The as­ reconstruction of the original. plained in a statement of textual pect ratio (length in relation to No footage remains of the original principles preceding the main text of width) of a film is destroyed when it uncut version. The only complete the edition. "I developed a set of is shown on television. "The stan­ surviving record of it is the cutting principles by which I could restore dard aspect ratio," he says, "is 133:1. continuity, a verbal transcription of the aesthetic qualities of the film that Most films today are shot with an as­ what appears on the screen that is are missing from the cutting pect ratio of 185:1. Some (primarily prepared by editorial assistants continuity." Cinemascope) are shot at 265:1. But

12 l poo b RO Pictures RKO by photosAll when these are put on videotape or shown on television, you get less than 133:1, no matter what the origi­ nal aspect ratio was." The edition is currently slated for publication by the University of Cali­ fornia Press sometime in 1989. Plans call for the heart of the edition to be presented on facing pages. On the left-hand page will be the 131-min­ ute cutting continuity containing a series of symbols indicating various changes. On the right-hand page will be annotations explaining the changes, alternate versions, and still photographs from deleted scenes or, where no stills exist, artists' draw­ ings of the scenes. For those sections in which no scenes were changed, the right-hand page will contain essays on visual style and cinematic practices and re­ printed accounts of people who were actually on the set while the scene A wide-angle camera view of the dim, cavernous hall of the Amberson mansion shows Jack was being shot. bringing Isabel the news that George has turned Eugene away. An appendix of historical docu­ ments centering around the corre­ spondence between Hollywood and usual couples dancing but also peo­ solved." Welles usually appeared in Welles about the recutting of the film ple talking on the second-floor land­ his own pictures. "He didn't appear includes a lengthy wire about the ing or leaning over the third-floor in this picture," says Carringer, "and previews from Jack Moss, Welles's balcony. "One great beauty of this he didn't write a reconciliation at the official representative in Hollywood, film— a principal reason it is consid­ end because he couldn't." and a five-page letter from Wise to ered a classic— is its sense of realism Based on the 88-minute version Welles, detailing the audience's reac­ in recreating the effect of physical to­ that survives, Carringer concludes, tions to each scene. tality and scope, especially in the in­ "What we had (in the original uncut Carringer also plans to include an terior settings." version) was a film of unprecedented essay about the house that Orson The most controversial feature of visual artistry and mastery of film- built— a detailed visual essay of the the edition is an essay that Carringer making techniques. We had strokes history of the Ambersons set. "This is tentatively titling "Oedipus in In­ of genius, fragments of genius, but I set was incredibly complex," he ex­ dianapolis." In eighteen years of re­ have come to doubt that we had that plains. "The usual practice then was search on Orson Welles, Carringer accomplished masterpiece about to build partial, three-sided sets for has developed a theory that Welles's which history has created the individual scenes and move the cam­ problems with The Magnificent Am­ legend." era from one to the other. Welles had bersons may stem from problems the entire interior mansion built, with the subject matter itself. even including rooms that he didn't "Welles himself had a troublesome, To reconstruct the script of Orson use. On the third-floor ballroom set, even traumatic childhood," points Welles's original uncut version of The the camera could capture incredibly out Carringer. "He could not resolve Magnificent Ambersons, Robert Car­ busy shots of 200 or more feet in the familial conflicts in Ambersons be­ ringer was awarded $33,443 in outright depth. Tracking shots would allow cause they related to conflicts in his funds from the Texts category of the Di­ the audience to see not only the own childhood that he had never re­ vision of Research Programs in 1986.

Artist's sketches of a deleted scene show Fanny and the major, on the Amberson veranda, observing how the neighborhood is changing.

13 Cecil B. DeMille with his editor, Anne Bauchens, and cameramen Karl Struss, Alvin Wyckoff, and Peverell Marley. DeMille attempted to create a film director's persona with jodhpurs and boots. CECIL B. DEMILLE before the Spectacle

BY ELIZABETH J. SHERMAN

URN ON THE television around Easter and at least one station will be T airing Cecil B. DeMille's The Ten Commandments," says SUNY-Brockport film historian Sumiko Higashi. "Despite his later reputation for commercial schlock, DeMille's early silent films, produced in the 'teens, were artistic ex­ pressions of some of America's most urgent social concerns. Immigration to this country peaked during those years, and DeMille's stories of ethnic, class, and sexual conflict appealed to the public during an era of progressive reform. Critics also reacted favorably to his early films and described them as dramatic, imaginative, and technically superior." With an NEH summer stipend in 1986, Higashi examined personal pa­ pers, correspondence, film scripts, trade journals, scrapbooks, and news­ paper and magazine clippings to document a period in DeMille's career— after the legitimate stage and before the formula spectacles—when the man whose posing set the tone for acting and dressing like a director was noted for serious and artistic films. "DeMille was one of the most popular and commercially successful film­ makers ever," says Higashi, "yet all but his biblical spectacles have faded from memory. With respect to visual style, the historical epics have a dated look. His films are not featured in revival houses or, with the exception of The Cheat, included in the canon of works studied in film courses. "After the early twenties, DeMille's work became formulaic. The films usually made money and even set records at the box office, but they ceased to be interesting except to film buffs with a contemporary camp sensibility." DeMille's involvement with theater began in childhood. Both his father and his brother William were well-known playwrights associated with Broad­ way producer David Belasco. His mother was a theatrical agent who repre­ sented authors. Young Cecil, dressed in a velvet suit with high-buttoned, yellow velvet gaiters and long yellow curls, looked the picture of Lord Faunt- leroy. Having sat through countless Victorian melodramas backstage, DeMi­ lle conceived a lifelong passion for elaborate sets and sensational plots. After studying at the Academy of Dramatic Arts in New York, DeMille began his career as an actor. Several years on the boards yielded a meager living, so he became the manager of his mother's theatrical agency. Follow­ ing in the family tradition, he also coauthored a number of plays with his more famous brother William, including The Stampede and The Royal Mounted. In 1913 DeMille was thirty-two, unsuccessful, and nearly broke. Jesse L. Lasky, a vaudeville producer, and his brother-in-law Samuel Goldfish (later Goldwyn) had lost most of their money in a failed replica of the Folies Bergeres. Undaunted, the three decided to pool what little capital they had left in an even riskier venture—film. Lasky, Goldfish, DeMille, and Arthur Friend, a fourth partner, formed the Jesse L. Lasky Feature Play Company (named after Lasky, who was best known) to produce feature-length films.

Elizabeth J. Sherman is an editor and freelance writer in the Washington, D.C., area. In The Cheat, Sessue Hayakawa (left) writes a check to help Fannie Ward avoid a ruinous dis­ closure that she has gambled away club funds. She promises to pay "the price." Right, Ward avenges herself after she reneges on her bargain and is branded by Hayakawa.

A convenient and inexpensive medium of entertainment that was shown in dirty and poorly ventilated storefront theaters, film appealed to the work­ ing class. The respectable middle class attended more costly vaudeville and legitimate stage performances at fashionable theaters. Intellectuals like De­ Mille's brother William were condescending about motion pictures. William was horrified at the thought of Cecil abandoning the legitimate stage in New York for Hollywood film productions. But the Lasky Company founders, like Adolph Zukor (with whom they would later carry out a merger that be­ came known as Paramount), were gamblers. Convinced that they could at­ tract middle-class patrons with well-made films of feature length (five reels as opposed to the standard one or two reels), shown in comfortable theaters, they began production. Once in Hollywood, DeMille set up a studio in a barn that is today pre­ served in Los Angeles as a site of early filmmaking. DeMille brought to the industry an ability to recognize a good story, attention to detail, and the courage to think big. The Lasky Company's first production, a western called The Squaw Man, became an instant hit and was hailed by the critics as an example of superior filmmaking. Almost from the beginning, critics raved about "Lasky lighting" and the "Lasky look," a reference to the use of modeled and high-contrast lighting to achieve dramatic effects. Director DeMille had assembled a first-rate crew, in­ cluding cameraman Alvin Wyckoff and David Belasco's art director, Wilfred Buckland. At first DeMille edited his own film, but in the 'teens he estab­ lished a long and fruitful relationship with cutter Anne Bauchens. Also nota­ ble among his staff was scenarist Jeanie Macpherson. According to Higashi, part of the Lasky Company's strategy to legitimize Opera singer Geraldine Farrar as an Aztec princess in film for middle-class consumption involved featuring Broadway stage stars The Woman God Forgot (1917). Farrar starred in six as players. Lasky's real coup, she says, was the signing of Metropolitan opera DeMille films. diva Geraldine Farrar to appear in pictures directed by DeMille. Farrar's first release, a cinematic version of Carmen, was hailed as an important event in the evolution of motion pictures in 1915. Farrar went on to star in a number of films, including DeMille's first spectacular epic, Joan the Woman, a render­ ing of Joan of Arc intended to stir pro-French sentiment during World War I. DeMille attained recognition from the beginning of his career as a direc­ tor who made superior films for middle-class consumption. "He managed to combine sex and racial prejudice into a kind of racy racism," says Higashi, "and this catapulted him into the front rank of film directors." In 1915 he achieved international acclaim on the release of The Cheat, a film in which a socialite who has lost club funds in a stock market gamble accepts $10,000 from a Japanese merchant to avoid ruinous disclosure. She agrees to "pay the price," but in a scene that electrified the public and critics alike, the merchant seizes the socialite and brands her with his trademark when she reneges.

16 A psychological bombshell, The Cheat won acclaim among French critics and solidified the reputation of the Lasky Company as a producer of first- rate feature films. And, for his remarkably subtle portrayal of the merchant in contrast with the exaggerated posturing traditional to melodrama, the Jap­ anese actor Sessue Hayakawa became a star. Although The Cheat is still widely recognized, "noteworthy silents such as Kindling, which realistically portrayed class division, tenement life, and lack of opportunity for the poor, are ignored by today's film scholars," Higashi says. "DeMille's early films deal with social issues about class and ethnic dis­ tinctions with sensitivity as well as ambivalence." Chimmie Fadden Out West and The Heart of Nora Flynn depict lower-class Irish in a favorable light com­ pared with the established rich. Rose of the Rancho and Girl of the Golden West (the David Belasco play that became the basis for Puccini's opera) are positive portrayals of Spanish-speaking Americans. "Although he was a pioneer in a revolutionary new medium," notes Higashi, "DeMille remained influenced by the theatrical tradition of nine­ teenth-century melodrama, specifically its emphasis on spectacle for the purposes of didacticism. Straddling the Victorian Age and the modernism of the twentieth century, he disseminated the values of a consumer culture within the moralizing framework familiar to audiences whom he came to know during innumerable tours of the country as an actor." DeMille's indebtedness to Victorian spectacle and melodrama was partic­ ularly evident in his visual style which, Higashi explains, emphasized "a rig­

orous frontality and shallow organization of space, minimal camera move­ Archive Stills Film Art, Modern of Museum ofCourtesy ment, and placement of actors in the foreground against a backdrop that was often spectacular. Praised in the early silent era as artistically superior, DeMille's visual style later became subject to ridicule as it seemed imper­ vious to decades of innovation in cinematic technique." By the late 'teens, DeMille moved from films dealing with social issues to pictures that portrayed the stylish and ostentatious consumption of high so­ ciety. Male and Female, Don't Change Your Husband, and The Affairs of Anatol glamorized everything from fashion and furniture to modern plumbing. Gloria Swanson, sighted by DeMille in a Mack Sennett comedy, starred in these films. "She became a clothes horse both on and off screen," Higashi adds. During the twenties, a growing middle class with some disposable in­ come and leisure time was being schooled by film to define individuality and well-being in terms of material possessions, Higashi points out. Enter­ tainments designed for an increasingly consumer-oriented society, DeMille's Jazz Age films legitimized conspicuous consumption. He had discovered the formula that would produce one box-office smash after another in the form of society spectacles and biblical epics. During the sound era, DeMille concentrated on the production of histor­ ical extravaganzas (Cleopatra, 1934), sagas of the American West (The Plainsman, 1937, and Union Pacific, 1939), and biblical spectaculars (Samson and Delilah, 1949, and the second Ten Commandments, 1956—the first ap­ peared in 1923). Among the first to cultivate a persona as a film director, DeMille success­ fully made the spectacle his trademark. Higashi points to "a point of con­ fluence that existed between his own extravagant fantasies and those of his audience. DeMille shared with the masses a belief in the American system and a desire for upward mobility as manifested in consumerism and living on a grand scale," she says. "The famous cycle of sex comedies and melo- Gloria Swanson in Male and Female (1919), wearing an ex­ dramas was based on lavish displays of consumption that were essentially an travagant costume in the film s Babylonian sequence. expression of the increasing reification of human relations in a capitalistic society." Beneath the spectacle and the pyrotechnics, Higashi found another Cecil B. DeMille. Far from the "cast of thousands," the man who directed The Cheat delved subtly into the forbidden realms of sex and race, seeking as much to provoke his audience as to entertain them.

In 1986, for "Cecile B. DeMille: Fabricating Spectacle for a Consumer Culture," Sumiko Higashi received $3,000 in outright funds from the Summer Stipends Pro­ gram of the Division of Fellowships and Seminars.

17 POETRY History Visual for Center York New the of Courtesy ON VIDEO

BY LAWRENCE PITKETHLY Voices and Visions director Richard Rogers sets up a shot for the program on William Carlos Williams.

OME CRITICS BELIEVE that po­ number of writers, including Robert drive was carried by the interviews, S etry should not be visualized. Hass, Donald Davie, and Denise but the narrative drive was in film They prefer to maintain a discrete Levertov, and floated the idea of a sequences, whether in poems, archi­ distance from the television medi­ television series that would try to val montage, or contemporary um, arguing that the only way in bridge the gap between poetry and photography. which poetry should be performed television—a series that would make We agreed to devise each program is in the more traditional setting of full use of the resources of the medi­ around nine or ten poems or sec­ the poetry reading. This conserva­ um to present the work of some of tions of poems that might be repre­ tive thinking has kept poetry off the America's finest poets with the hope sentative of a particular writer's television screen and has contrib­ of encouraging viewers to go back work. We then decided to interview, uted to the decreasing influence of and read the original works. One of as far as possible, contemporary poetry as an art form in an increas­ the writers we contacted said most poets and critics who might have a ingly visual culture. Of course, it succinctly that we have a duty to use strong affinity with that writer or, would be gratifying if more poetry the principal medium of communica­ conversely, a strong antipathy. Final­ readings were televised, but the me­ tion in our culture to extend poetry's ly, we agreed to find visually arrest­ dium, preferring to see poetry as a readership. ing ways of presenting the poetry se­ marginal activity, has not opened its Voices and Visions is a series of per­ quences. We also decided to film doors to poets. formance documentaries that mixes manuscripts and texts to show dif­ biography, criticism, history, and se­ ferent drafts of poems, emendations, Poems in Performance quences of poems performed in a va­ revisions, and so forth. This was riety of visual contexts. There was done to compensate for the popular The television series Voices and Vi­ no regular recipe for this mix al­ image of the poet as spontaneous sions was conceived not to replace though the ingredients were similar. muse. Some of the films in which the activity of writing or of reading, Because each film team grappled but to draw attention to poetic liter­ with different sets of narrative ques­ ature. This thirteen-part series, sup­ tions, some films are more biograph­ ported by NEH, includes programs ical than others (Plath and Hughes), on the world and work of American some more stylistically innovative poets Walt Whitman, Emily Dickin­ (Williams), some divided into se­ son, Ezra Pound, Robert Frost, Hart quences where a particular poet or Crane, T.S. Eliot, Robert Lowell, Wil­ critic carries his own section of the liam Carlos Williams, Elizabeth film (Frost), and some showing the Bishop, Sylvia Plath, Marianne poet as historian (Lowell). Moore, Wallace Stevens and Lang­ The film on Ezra Pound, for exam­ ston Hughes. ple, concentrates on the interconnec­ The series was first discussed in tions between Pound's politics and 1979 in conversations I had with his aesthetics by making as the cen­ poet Donald Hall and editor tral narrative his poetic responses to Jonathan Galassi. We approached a the approach, advent, and aftermath of the two world wars. Narrative, in fact, was always particularized in the Lawrence Pitkethly is executive producer series to allow each film to respond of the Voices and Visions series. He to the challenge of that writer's also wrote and directed a number of the One of the American poets portrayed in work. What emerged was a film es­ Voices and Visions is Walt Whitman episodes. say where the principal interpretive (1819-1892). 18 orey f h Nw ok etr o Vsa History Visual for Center York New the of Courtesy the manuscript sequences worked was perceived to be the timidity of particularly well were the Whitman the filmmaker in front of the written and Crane programs. Both poets text. We concluded that scholarly liked to revise copiously. This ap­ distortions in poetry films are caused proach was not so relevant for the most often by the filmmaker's reluc­ Stevens program because he liked to tance to grapple with the complex­ compose his poems carefully in his ities of language. We wanted to head, much like a lawyer compiling avoid this tendency in our series. Al­ a brief. That, at any rate, is the mem­ though none of us had read Octavio ory his daughter Holly has. Paz's essay, "The Verbal Contract" (from Convergences 1987), his spirit Imagining the Text on Screen hovered over our deliberations: All the elements and forms of expression It is one thing to have a vision, quite that appear in isolation in the history of another to make it specific, to give it poetry—speech and writing, recitative texture and shape. In setting direc­ and calligraphy, choral poetry and the il­ luminated manuscript page; in short, the tions, the clarifying energy of Helen voice, the printed character, the visual Vendler, professor of English at Har­ image, the color—coexist in the modern vard and a program consultant, was communications media. For the first time crucial. She envisioned a series in in history, poets and their interpreters which "viewers would come away and collaborators—musicians, actors, from the programs having, of course, graphic designers, illustrators, painters— heard many great lines read aloud; have at their disposal a medium that is but they would also have some idea simultaneously spoken word and written of the historical, biographical, cultur­ sign, aural and visual image, in color or al, and philosophical stimuli of those in black and white, . . . Unfortunately, lines, some idea of their American- the relations between poetry and the new media have not been explored. ness, of their poetic originality, and of their place in a line of American Searching for Documentation artistic evolution from the eigh­ teenth century to our day." Once the general principles of the Vendler also argued that "each of series were set, the individual pro­ the scripts should be responsible for duction teams and the research de­ conveying what poetry is and what partment at the New York Center for Above: Lawrence Pitkethly, director of Hart poets do. This, and only this, makes Visual History explored what was Crane, shooting the Brooklyn Bridge, and our subjects interesting. Otherwise, available to film and how extensively (below) Hart Crane (1899-1932) in Mexico, they would only be stray cranks and this needed to be documented. Film 1931. The Crane program featured different suicides and doctors and insurance libraries were combed for any traces drafts and revisions of his poems. men of no interest at all to the w orld/ of actual footage of the poets. Some To examine the problems inherent fragmentary footage was available of Realizing the Poet's Tone in making a television series of this Pound in the Twenties, but nothing kind, the New York Center for Visu­ of the young Stevens or of Frost. In The authentic mark of a poet is in al History convened a one-day con­ fact, it was only after we had com­ the speaking voice: a way of speak­ ference during which we and a num­ pleted our film on Hart Crane that a ing on the page that inevitably ber of our consultants looked at sev­ Crane scholar in Ohio discovered a reaches back in tone to rhythmical eral films and videotapes of poetry, short sequence of the poet himself. patterns that a poet hears. In this re­ including Ken Russell's extravagant This scarcity of film footage led us spect, there is no substitute for hear­ and personal portraits of the Roman­ elsewhere in a search for photo­ ing poets read their own work. tics, a new BBC documentary on graphs, recordings, letters, reminis­ Whatever we think of the poet as a Robert Lowell, a film on Emily Dick­ cences by friends and acquaintances, reader, the performance tells us inson with Julie Harris, and Robert and newspaper articles. And, of more about what the lines intend Squier's study of Faulkner. course, the geographical locations than any interpretation can possibly During the conference, we also that figured strongly in the poet's manage. There are people who dis­ discussed poetry's inaccessibility for spiritual itinerary could be filmed to agree with this—who consider some the television audience and what establish the poet's connection. poets to be bad readers. That may be

19 so, and many lines may be rendered sion to play down the theatricality of much more appealingly by a fine ac­ Dickinson's poetic diction was delib­ tor or by another poet than by the erate. No one knows how Dickinson original author. But the actor can might have sounded as a poet, so never be wholly genuine; the actor any conclusion is at best speculative. can never realize the poet's tone, We chose to work against the current only an approximation of it. stereotype so that no single interpre­ For us, this central problem in tation of Dickinson could take hold. filming Voices and Visions was com­ pounded by the fact that most actors within the American system of dra­ Interviewing Scholars matic training tend to read poetry and Poets for the meaning of the lines rather Interviews inevitably carry much of than for the metrics of the verse. The the scholarly weight of the pro­ actor's verbal felicity—the tendency grams. Had we simply created a se­ to take off into what is being said ries of talking heads, we would have rather than how it is being said—dis­ lost the audience for whom the pro­ torts a poem often beyond recognition. grams were intended. We chose to We directed our actors to forget balance the role of critics with other their natural tendencies to emote interviewees who provided anec­ and to think always of the complex­ dotal, biographical, or historical in­ ities of the language in front of formation. Although we did look for them. Jane Alexander reading Emily contrasting views from the critical Dickinson, Blythe Danner reading voices (for example, the different Elizabeth Bishop, Dan Ziskie reading views of Frost held by Richard Hart Crane, Ellen Tobie reading Syl­ Poirier, Richard Wilbur, William via Plath, worked hard on their Pritchard, Joseph Brodsky, and lines. In some instances, the actor Seamus Heaney), there were usually would come in and look at the film one or two dominant critical inter­ in order to see how a particular pretations in each program. poem fit into the narrative or to ob­ Because one program consultant serve what a particular critic said was usually assigned to a film, that expert's view tended to be reflected in the program's direction. The ex­ tent of this trend depended, to a large degree, on the extent of the program consultant's involvement. Some consultants worked closely Actress Blythe Danner reads "One Art" by with the film teams; others preferred Elizabeth Bishop at a Voices and Visions to operate from a distance. Natu­ event at the Lincoln Center Library in New rally, the choice about what critical York. Below, the program about Sylvia Plath (1932-1963) emphasizes her biography as information to include was left to the well as her poetry. writer and director. The program consultant reviewed the rough cut when ready, but because there were about the poet's voice. This altered limits on the number of subjects the reading. who could be interviewed, those For example, on Sylvia Plath, Ellen who were included did determine Tobie did one reading of "The the film's point of view. Moon" and the "Yew Tree" that was edited into the rough cut. Then she saw the film and heard A. Alvarez's Editing and Preserving comments about how Plath broke the Voices with the carefully cadenced form of her early poetry to achieve a much A film director is always looking for flatter, more natural line. Tobie asked sequences and tends to regard inter­ for a second reading in which she views as a means to an end—that is, provided a more minimalist feel. they have to be edited. One decision We also aimed for that flat effect in we made early on was to try to pre­ Jane Alexander's reading of Emily serve the original interviews in their Dickinson. Some viewers, more ac­ unedited form for more scholarly In researching the program on Emily Dickin­ customed to The Belle of Amherst, purposes. With support from the son (1830-1886), consultants viewed a film thought that Alexander's interpreta­ Ford Foundation, we have been able on her life that starred Julie Harris. tion lacked spontaneity; but the deci­ to transfer approximately half of the

20 Voices and Visions offered a number of critical interpretations of the poetry of Robert Frost, shown here at his farm in New Hampshire. interviews in their entirety to tape. is retained, and the viewer's patience as the reader is drawn into new ex­ Copies of these tapes will be pre­ is presumed. periences. The idea of a secure liter­ sented to the New York Public Li­ Television operates at such mo­ ary world, which can keep the myr­ brary and to the University of Chi­ ments like a sophisticated conversa­ iad impressions of the modern media cago so that what the interviewees tion, which does not have to be in­ at bay, also seems to me illusory. actually said and the context in terrupted for the precise meaning or So at best, the television docu­ which they conducted the interview the exact quotation to be spelled out. mentary acts as a "momentary stay will be available to scholars. In this sense, our series is not an es­ against confusion" to use Robert Editing interviews for television say authored by one person but a fo­ Frost's phrase. No documentary is documentaries raises questions of a rum in which individuals have their definitive. Other visions could as different sort from those that relate say and during which certain poems easily be imagined. But the virtue of to editing academic histories. The are performed. a television documentary about a filmmaker must presume that some poet is that it allows the spirit of the viewers know very little about the The underlying basis of Voices and Vi­ poet to stalk the land in visual form. subject and that others are as sophis­ sions seems in retrospect to be legiti­ That, I hope, is the spell cast by ticated as a literary critic. Film has mate: to present poetry to the Amer­ Voices and Visions on at least some little capacity to footnote. One can­ ican public in a way that suggests viewers—sending them back to their not simply flash a number on the that the two worlds—literary and vi­ books to read the poetry and imag­ screen directing the viewer to a ref­ sual—do not have to be at logger­ ine for themselves. v5* erence (although this may be possi­ heads. I personally believe that it is ble in the future with video disks). difficult to read any poet, even in a Since 1981, the New York Center for Vi­ Yet interviewees often make allu­ book, without making an imagina­ sual History has received a total of $3.3 sions that are physically impossible tive leap to comprehend the poet's million in outright funds for Voices and to cut if the sense of the interview is world. That imaginative effort on the Visions through the Humanities Projects to be maintained. Usually, the piece reader's part is always being falsified in Media Program of the Division of of esoterica or the privileged allusion as the world of the poet recedes or General Programs.

21 The Bayeux NE DAT IN the year O1 072, William the Conqueror's half-brother Odo, the Bishop of Bayeux in Normandy, Tapestry's strolled into St. Augustine’s Abbey in Canterbury to visit one of the monks. The wealthy and ambitious Bishop wanted to Subversive commission a magnificent piece of embroidery to hang in one of his great halls as a tribute to the victory of the Normans over the Secrets English at Hastings six years earlier. Could the monk see to the BY KATHI ANN BROWN design and supervision of such an important work? CCORDING TO David J. Bern­ it was almost undoubtedly designed The solicitous monk assured A stein, professor of history at and wrought by a vanquished Sarah Lawrence College and author people?" the Bishop that he had made a of The Mystery of the Bayeux Tapestry Bernstein's idea that the Bayeux wise decision in coming to the (Chicago, 1987), just such an unre­ Tapestry is actually an Anglo-Saxon, Abbey. Odo departed, satisfied corded encounter between conquer­ not Norman, work of art has only in or and conquered may well have this century gained acceptance in that he’d placed his precious precipitated the creation of the mys­ scholarly circles. Just thirty years commission in good hands. No terious Bayeux Tapestry, an elaborate ago the Tapestry was regarded as lit­ sooner was he out of sight than 900-year-old, 230-foot long, 20-inch tle more than a straightforward, if high, embroidered linen "frieze" whimsical, Norman rendition of Wil­ the monk clapped his hands for that Bernstein believes may be "the liam the Conqueror's invasion of joy. Yes, he would design for this only subversive triumphal monu­ Anglo-Saxon England in 1066. Then, foreign intruder a truly unforget­ ment known in western art." The in 1957, English art historian Francis Tapestry has resided in the Norman Wormwald revealed that several im­ table work. In fact, the powerful town of Bayeux since its existence ages in the Tapestry's approximately Norman ecclesiastic would get was first recorded in 1476. 75-scene depiction of the death of more than he bargained for. With "I love puzzles," says Bernstein, England's King Edward the Confes­ "and the Bayeux Tapestry is filled sor; the adventures of Harold, his a smile heavenward the monk with them. Here's the only remain­ successor; and the Norman invasion turned on his heel and hurried ing major work of art of its kind of England had been copied from il­ toward the abbey’s library. from the medieval period, purport­ luminated manuscripts housed in edly telling the story of the Norman Canterbury's ecclesiastical libraries at conquest from a Norman point of the time of the Battle of Hastings. view, but actually conceived and cre­ Wormwald offered a novel explana­ ated by the conquered people them­ tion: Was it not possible, even proba­ selves. What does it mean for our ble, that this exquisite monument to understanding of the Tapestry—and the Norman conquest had been de­ of the medieval English mind—that signed and executed in English Can­ terbury rather than across the chan­ nel in French Normandy? When medievalist David Bernstein Kathi Ann Brown is a freelance writer in picked up Wormwald's Anglo-Saxon the Washington, D.C., area. thread twenty-five years later, sur-

22 prisingly little had been done to ana­ Unlocking the mystery of the lyze the implications of Wormwald's Tapestry's many-layered messages revolutionary theory. Bernstein, pivots on an interdisciplinary analyt­ however, fresh from a post-graduate ical approach, says Bernstein. "We course in illuminated manuscript art have to grasp both the artistic and with Meyer Shapiro at Columbia historical impulses that might have University, was fascinated by the informed the Tapestry artists' selec­ iconographic problems posed by an tion of certain images and words English provenance for a monument over others. For example, to accept to that country's conquerors. With or reject the Tapestry's historical val­ support from NEH, Bernstein began ue on the basis of factual content to search for an answer to the ques­ alone seriously misinterprets the art­ tion: "If the Bayeux Tapestry really is ists' intentions, as does dismissing it Anglo-Saxon, what difference does it as unsophisticated from an art his­ make?" torical point of view. The designer

"What I found in the Tapestry was made quite deliberate decisions Harold, standing between two shrines, a subtle and intriguing balancing about both the content and the ar­ swears an oath to William to forward the duke's claim to the throne of England. The act," explains Bernstein. "First, there rangement of textual and pictorial chronicle of the Norman historian William of is the apparently secular story of elements. Those decisions must be Poitiers places the oath immediately after events leading up to William's vic­ read together in order to understand Harold's arrival, in William's court, but the tory at Hastings, which was intend­ the significance of his choices, his si­ Tapestry places the oath immediately before ed by the Tapestry's makers to be lences, and his ambiguities." his return to England. A detail from the bor­ der of the oath-swearing scene (above) shows read by Odo and his countrymen as Bernstein's early research yielded a peacefully preening winged lion in marked glorification of their triumph. But additional evidence to support contrast to the agitated, aggressive birds and there are also several fables and sto­ Wormwald's claims of an Anglo- beasts in other parts of the margin. ries in the borders, integral to the Saxon origin for the work. At certain Tapestry's meaning, many of which points, the spelling of the text is can be read, by those so inclined, as Anglo-Saxon, not Norman. Also, less than flattering to the Normans. Norman art had no tradition that an­ Finally, there is an alternative ver­ ticipated such an elaborately em­ sion of events that is buried between broidered textile work. On the other the lines, so to speak, espousing a hand, England was at the time con­ viewpoint that might have proved sidered the nonpareil of European comforting to Anglo-Saxon readers. embroidery. Bernstein also agreed This last story is revealed through with several fellow students of the clever scriptural allusions as well as Tapestry that internal evidence by what's been left unsaid." pointed to Bishop Odo, William the

23 Conqueror's ambitious brother, as the surface, the biblical images ap­ the likely patron of the work. pear to be appropriate choices for Satisfied that the Tapestry was telling the Norman story, but many conceived and made in England, lend themselves to multiple inter­ Bernstein turned his attention to pretations if read by an erudite eye iconographic issues. He was not sur­ sympathetic to the Anglo-Saxon prised that some of the work's im­ cause. ages had been "lifted" from illumi­ For example, Bernstein was able to nated manuscripts. Medieval artists identify a number of motifs specifi­ regularly employed an accepted cally linked to the Hebrew scrip­ "vocabulary" of motifs. That so tures—a source never previously many images, often rich with ambig­ considered in interpretations of the uous meanings, were used in the Tapestry. He cites the portable reli­ Tapestry (as Bernstein soon dis­ quary on which Harold swears his covered) suggested that its designer oath to William, the appearance of

The final battle: Harold's bodyguard falls and not only had had access to Canter­ numerous lions with wings, and the (opposite page) Harold is struck by an arrow bury's church libraries but had also repeated theme of perjury as among in his eye. The king's dragon standard is been clever enough to select images several unusual elements of the crushed under a horse's hoof. A second repre­ sentation of Harold shows him being slashed with ironic and potentially subver­ Tapestry harking back to scriptural by a mounted knight. The lower margin de­ sive overtones. stories like the Babylonian conquest picts looting of the dead. "The Tapestry was probably de­ of Judah. Bernstein sees in the Tap­ signed within a generation of the estry's final scene— the blinding of conquest," says Bernstein. "I wanted Harold at Hastings—an eleventh- to discover why it had more than century retelling of the blinding of likely been designed by an English the Hebrew king Zedekiah by King ecclesiastic living in the heart of his Nebuchadnezzar for breaking a sa­ country's intellectual and cultural cred oath of fealty. arenas—a monk who surely was all All Norman written accounts of too familiar with the brutal treatment the conquest describe Harold, the that the English had frequently suf­ unroyal brother-in-law of the saintly fered at the hands of their oppressors." King Edward, as a usurper who To find the answer, Bernstein seized the throne on the chieftain's combed England's surviving medi­ death, thereby breaking an oath pre­ eval manuscripts and was able to viously given to William of Norman­ identify a number of biblical motifs dy to support William's own strong and images that had apparently been claim to his English cousin's throne. incorporated into the Tapestry. On To avenge Harold's indiscretion, Wil­

24 liam mounted an invasion of En­ ward's wishes, find himself in un­ gland, and the unfaithful Harold friendly territory, and only vow to died an ignominious and deserved advance William's cause in order to death on the field at the Battle of escape, as other sources suggest? Hastings. Read from the Norman point of Because no one knows how view, the Tapestry oath ceremony Harold actually died, the artists of appears to be a straightforward de­ the Tapestry were at liberty to piction of Harold swearing loyalty to choose a death for him. The designer his Norman host. But when the oath decided to kill Harold with an arrow scene is considered in relation to to the eye, an action that also sug­ neighboring scenes, an alternative gests blinding. The unfaithful interpretation emerges. In the Tapes­ Zedekiah's punishment by blinding try Harold gives his oath immediate­ as recounted in the Hebrew scrip­ ly prior to his return to England; in­ tures makes the designer's selection deed, the scenes overlap. Yet the hts orey f ai Bernstein David of courtesy Photos

for the Tapestry's final scene an es­ This detail of the death scene shows enigmatic pecially resonant parallel. This ap­ stitch marks by Harold's brow. The stitch parently appropriate scriptural inter­ marks may be part of the original embroidery and may indicate an arrow lodged in Harold's pretation of the events of 1066 would forehead above his eye. probably have appealed to proud and unquestioning Norman eyes, such as those of tapestry patron Bishop Odo. But Bernstein believes that is only half the story. The presentation of the theme of perjury, for example, can be interpreted in different ways. The scene depicting Harold's oath of traditional Norman version of events fidelity to William is vague about de­ places the oath at an earlier point, tails of Harold's trip to Normandy shortly after William saves Harold shortly before Edward's death. Early from captivity by an evil Norman written accounts reviewed by Bern­ count and Harold helps William on a stein disagree about Harold's motive: military escapade. The placement of Did he go at Edward's request to of­ Harold's vow and departure so close fer the crown and swear his support together in the Tapestry version of for William, as posited by the Nor­ events suggests that expediency, not mans? Or did he travel against Ed- fidelity, may have been the real im­

25 petus behind Harold's oath. The viewer would expect to see. Indeed, text, notes Bernstein, is tantalizingly so successful was the designer in silent on the point. meeting his patron audience's expec­ Similarly, the Tapestry fails to de­ tations that for most of the past nine pict even a single explicit justification centuries, as far as can be deter­ for William's claims to the English mined, the Tapestry was assumed to throne. The Normans naturally be a Norman creation. Whether any tended to view Harold's last-minute Anglo-Saxon outside of the Canter­ nomination to the throne with con­ bury needlework shops ever saw the tempt. Yet in three different scenes, Tapestry and drew inspiration from Harold is shown receiving the sym­ its clever design before it was sent to bols of power from sanctioned au­ France will, unfortunately, probably thorities—gestures supporting the never be known. English contention that the transfer What can be surmised, however, is of power from Edward to Harold that the Tapestry's patron, Bishop orey f ai Bernstein David of Courtesy

A two-part scene depicting the death of King was legitimate and intentional. Read­ Odo, must have been extraordinarily Edward: In an upstairs room, King Edward ing between the lines, Bernstein ar­ trusting (or naive) to have placed the the Confessor is surrounded by his wife, a gues that the Harold of the Tapestry creation of a Norman war monument cleric, an attendant, and Harold, to whom he extends his hand, thereby apparently consign­ clearly emerges as a rightful claimant in the hands of a well-educated and ing the kingdom to him. In the scene below, and a wronged party. witty English monk. But like many Edward's body is shrouded for burial. The Most importantly, in the context of oppressed people before and after spelling of “Edward" is Anglo-Saxon the blinding of Zedekiah for his per­ him, this same monk took care to (EADWARD). jury, his punishers, Nebuchadnezzar hide his message of hope and con­ and the Babylonians, lose the He­ tempt from his oppressor's eyes. brew kingdom in less than a genera­ Submerged in the bright colors and tion due to their own profligacy. Did marching figures of this magnificent the designer mean to imply that the linen battlefield can be found a Normans might well find themselves quiet, yet enduring monument to in the same boat twenty years hence? the strength of the human spirit. Bernstein believes that the Tapes­ try's artists were careful not to flaunt their Anglo-Saxon bias. At points in In 1984, for "The Bayeux Tapestry: Its the story where Norman and Anglo- Meaning, Style, and Purpose," David Saxon viewpoints could naturally be Bernstein was awarded $25,000 from the at variance, the designer was careful Fellowships for College Teachers and In­ not to let his alternative interpreta­ dependent Scholars Program of the Divi­ tion overshadow what a Norman sion of Fellowships and Seminars.

26 A m erican R esearch C enters O verseas

BY MARY ELLEN LANE

N EGYPTOLOGIST IN Boston Formed individually in response A has developed a new epi- to American interests in the primary graphic method for analyzing and research resources of the host coun­ recording tomb inscriptions and try, the centers have varied begin­ needs funding in order to test her nings. The American School of Clas­ method in Egypt. An ethnomusicol- sical Studies at Athens was founded ogist with a Fulbright grant in in 1881 by a group of American Yemen wants introductions to clas­ scholars and philanthropists who sical and tribal musicians n wished to establish an of the South Arabian tra­ " institute that would fos­ dition. A professor from ter graduate work in the University of Minne­ Greek studies as well as sota with funds from the archaeological explora­ Smithsonian Institution tion in Greek lands. Villa to record undocumented I Tatti, the Florentine art works in eastern In­ center for Italian Renais­ dia must find an apart­ sance studies, came into ment in Delhi for him­ existence through the self and his family. An bequest to Harvard American businessman University of Bernard living in Israel would Berenson, the historian like to take courses in ar­ and art critic. Harvard chaeology from experts. operates the center for Each finds help from an the American scholarly American research cen­ community. The Ameri­ ter overseas. can Research Center in American overseas re­ Egypt, now a large insti­ search centers serve as tution encompassing extensions of the advanced foreign The American School of Classical Studies (in scholars with varied research inter­ research programs of hundreds of the middle ground) at Athens. Mount ests, began life in 1948 as a rubber U.S. universities, colleges, and mu­ Lykabettos is in the background. stamp kept in the apartment of seums. Independently incorporated whatever American archaeologist as not-for-profit organizations, most ters were established as consortia of was resident in Cairo at the time. of them survive on a patchwork of U.S. universities and museums and The American Institute for Yemeni funding from sources that may in­ are governed by representatives of Studies was the first foreign research clude institutional, corporate, and member institutions. organization to be established in individual memberships, foundation Centers operating in Italy, Greece, Sana'a when Yemen opened to the support, endowment, and grants Turkey, Cyprus, Tunisia, Morocco, outside world in the late 1970s. from NEH, the U.S. Information Egypt, Jordan, Israel, Yemen, India, The centers' primary role is to pro­ Agency/Fulbright Program, the Pakistan, and Hong Kong altogether vide fellowships that enable Ameri­ Smithsonian Institution, and the represent more than three hundred can scholars to undertake research U.S. Office of Education. Most cen- years' experience in facilitating re­ in the country of their specialization. search in foreign countries. The pri­ Fellowship programs differ in size vate structure of the centers and the and scope. The cornerstone of the Mary Ellen Lane is executive director of important research they promote American Academy in Rome's pro­ the Council of American Overseas Re­ make them respected representatives gram is the Rome Prize fellowships search Centers. She holds a doctorate in of American academia in the coun­ offered in painting, sculpture, musi­ Egyptology. tries in which they operate. cal composition, literature, history of art, classical studies, archaeology, Centers Research Overseas American on Council the of courtesy Lehner, Mark by Photograph post-classical humanistic studies, de­ sign arts, architecture, and land­ scape architecture. The newest over­ seas research center—the American Institute of Maghrib Studies, which sponsors research on the five North African countries known collectively as the Maghrib (Algeria, Libya, Mauritania, Morocco and Tunisia)— offers fewer scholarships but does so within a range including the social and developmental sciences as well as the humanities. In addition to providing fellowships, centers also facilitate the work of scholars not di­ rectly associated with the center. Centers also perform functions vi­ tal to the accomplishment of foreign research. Liaison services between American scholars and the host- country community may include making introductions to appropriate institutions and individuals; obtain­ ing access to research facilities such as host-country libraries, archives, and museums; and obtaining visas, residence permits, and other re­ quired official documents. Some centers have long been in­ volved in the sponsorship and facili­ tation of archaeological excavations. Of the many projects sponsored by the American School of Classical Studies in Athens, the restoration of the ancient Athenian Agora and the excavations at Corinth are perhaps the best known. The W.F. Albright Institute of Archaeological Research in lerusalem, the oldest American institution of its kind in the Middle East, serves as a focus for American archaeological and biblical research in Israel. The American Center of The Yale University Sphinx Project is using photogrammetry to take accurate measurements of the Great Sphinx at Giza. Oriental Research in Amman partici­ pates in salvage archaeology projects portance given the absence of a uni­ cluding photography and conserva­ with the Jordanian Antiquities De­ versity on the island of Cyprus. tion laboratories. The American In­ partment. The American Research All centers have library holdings. stitute of Indian Studies maintains Center in Egypt expedites virtually Some, such as the libraries at the specialized centers for ethno- all American archaeological excava­ American Academy in Rome, the musicology and art and archaeology tions taking place in Egypt—some­ American School of Classical Studies in Delhi and Varanasi. All centers times as many as forty each year. in Athens, the Albright Institute in provide study space, and most are Although all centers focus on re­ Jerusalem, and the Universities Ser­ now making computer time available search, some also serve as teaching vice Centre in Hong Kong, con­ to U.S. and host-country scholars. institutions. The American Research stitute major research collections. In Living accommodations are made Institute in Turkey supports a pro­ addition to its excellent library, Villa available to visiting scholars by most gram of Turkish language instruction I Tatti possesses a photo archive of centers. Fellows and resident pro­ at Bosphorus University, and the more than 300,000 photographs from fessors of the American Academy in American Institute of Indian Studies Berenson's own working collection. Rome are housed in the academy's provides instruction in the Hindi, Center libraries and archives are ten-acre complex on the Janiculum Tamil, Bengali, and Telugu lan­ available to host-country and third- hill overlooking Rome. The sparse guages. The Cyprus American Ar­ country scholars as well. The Ameri­ quarters at the American Institute of chaeological Research Institute in can Center for Oriental Research in Yemeni Studies are quite a contrast, Nicosia has particular academic im­ Jordan offers specialized facilities, in­ but they serve as a pleasant home to

28 Americans long after their return to the United States. In addition to facilitating research abroad, all centers maintain offices in the United States and disseminate research results here and abroad through programs of scholarly meet­ ings and publications. Some centers serve as important scholarly organi­ zations for the U.S. academic com­ munity. The American Schools of Oriental Research—the umbrella or­ ganization for the Albright Institute, the American Center of Oriental Re­ search in Amman, and the Cyprus American Archaeological Research Institute, as well as committees of scholars who work in Iraq and Syria— is the leading U.S. research organi­ zation for the study of the ancient Middle East. The American Research Center in Egypt is the only Ameri­ can organization devoted to the study of all phases of Egyptian culture from earliest times to the present. Scholars concentrating on all historical periods give papers at the center's annual meeting in the United States. The American Insti­ tute of Pakistan Studies organizes stateside seminars on U.S.-Pakistan relations. Although currently unable to operate in Iran, the American In­ stitute of Iranian Studies, now housed in the Metropolitan Museum of Art, is undertaking an extensive bibliographical project to aid schol­ ars in identifying important archives and collections outside Iran as re­ sources for research. American overseas research cen­ ters constitute a major group of in­ stitutions through which NEH sup­ Bab al-Yaman (Gate of Yemen) in San'a, site of the American Institute for Yemeni Studies. ports research abroad. Through a re­ grant program to some centers, scholars who cannot afford the high American Research Center, they will fellowships are given to post-doc- prices of hotels in Sana'a. The Uni­ find Egyptian, American, and Euro­ toral scholars who are selected by versities Service Centre in Hong pean scholars gathered together to center-appointed juries of academ­ Kong maintains no living quarters discuss a professor's latest book or a ics. NEH has sponsored archaeologi­ but offers lunch in the commons graduate student's dissertation. cal research on just about every peri­ each day to scholars using the library. In addition to their scholarly ori­ od of Jordanian history with fellow­ All centers offer programs of con­ entation, most centers make an ships to the American Center of Ori­ ferences and seminars, which bring effort to involve the public in their ental Research. The Endowment has together American, host-country, activities by providing opportunities traditionally sponsored archaeologi­ and third-country scholars to learn to learn about the history of the host cal and Egyptological studies at the about each other's research. These country. Centers with a focus on ar­ American Research Center in Egypt, occasions create opportunities for lo­ chaeology offer a variety of courses and in recent years scholars from the cal and foreign scholars to exchange as well as visits to historical sites ac­ field of Islamic studies have been ideas and to develop cooperative companied by resident experts. Pro­ well-represented. Each year NEH projects. Scholars returning to grams offered by the American Cen­ awards fellowships to the two Amer­ Egypt—even after an absence of as ter of Oriental Research, the Ameri­ ican research centers in Italy and has long as twenty years—know that on can Research Center in Egypt, and recently added the American Insti­ any Wednesday afternoon at 5 p.m. the American Research Institute in tute of Indian Studies to the list of in the welcoming offices of the Turkey have built up a following of centers receiving fellowship support.

29 Through NEH Summer Seminars when its previous source of funds— for College Teachers, the American Egyptian currency owned by the Academy in Rome has sponsored U.S. government—became unavail­ seminars on Roman art arid architec­ able. Through its challenge grant, ture and this summer is offering a the American Institute of Indian seminar to examine the religious, Studies—supported to a large extent political, and social significance of by grants in rupees that can be spent Roman dress. With NEH grants, the only in India—was able to obtain American Schools of Oriental Re­ precious dollars to maintain the U.S. search has offered summer institutes side of its operations. in the United States where college, Threatened by rising inflation in university, and seminary professors the host countries and growing de­ and museum curators enrich their mand on physical and financial re­ understanding of the archaeology of sources, the centers banded together the Middle East. in 1986 to form the Council of Amer­ NEH challenge grants have helped ican Overseas Research Centers. The four centers improve important as­ new organization, housed in the pects of their programs and services. Smithsonian Institution, is respon­ An NEH challenge grant helped sible for identifying and promoting launch a successful fund-raising pro­ the common interests of member centers. gram for the American School of Although the centers differ from Classical Studies at Athens. The im­ each other significantly in size, struc­ petus of the challenge grant—and a ture, and program, the common de­ "matching match" from the Mellon nominator among them is the ad­ Foundation—helped the school to vanced research they sponsor and define its long-range needs and to the stable, nonpolitical American plan realistically for the future. The presence they provide in the coun­ American Academy in Rome ex­ tries where they work. Together they panded its world-renowned library constitute a global system of incal­ collections with a challenge grant. culable value to U.S. academic in­ The American Research Center in The American Institute for Maghrib Studies stitutions invigorated by research Egypt was awarded a challenge grant in Tunis. and contact abroad.

American Research Centers Overseas

American Academy in Rome* Islambad Office American School of Classical Studies at 41 East 65th Street P.O. Box 1128 Athens* New York, NY 10021 Islamabad, Pakistan 41 East 72nd Street Rome Office New York NY 10021 Via Angelo Masina 5 American Institute for Yemeni Studies Athens Office 00153 Roma, Italia Portland State University 54 Souidias Street P.O. Box 751 GR-106 76 Athens American Institute of Indian Studies* Portland, OR 97207 Greece Foster Hall 212 Sana'a Office University of Chicago P.O. Box 2658 American Schools of Oriental Research* 1130 East 59th Street Sana'a, Yemen Arab Republic 4243 Spruce Street Chicago, IL 60637 Philadelphia, PA 19104 Delhi Office American Research Center in Egypt* W.F. Albright Institute D-176 Defence Colony, New Delhi New York University P.O. Box 29096 110 024 India 50 Washington Square South 91-190 Jerusalem, Israel New York, NY 10012 American Center of Oriental Research American Institute of Iranian Studies Cairo Office P.O. Box 2470 c/o Ancient Near Eastern Art 2 Midan qasr el-Doubara Amman, Jordan Metropolitan Museum of Art Garden City Cyprus American Archaeological Research Institute Fifth Avenue and 82nd Street Cairo, Egypt 4i King Paul Street New York, NY 10028 Nicosia, Cyprus American Research Institute in Turkey American Institute for Maghrib Studies Oriental Institute Universities Service Centre Bunche Hall, Room 10286 1155 East 58th Street c/o American Council of Learned Societies University of California Chicago, IL 60637 228 East 45th Street Los Angeles, CA 90024 Ankara Office New York, NY 10017 Tunis Office Iran Caddesi 29/A Hong Kong Office Impasse Menabrea Gazi Osman Pasa 155 Argyle Street 21 bis, rue d'Angleterre Ankara, Turkey Kowloon, Hong Kong 1049 Tunis Hached Istanbul Office Tunisia Serencebey Yokusu 61-63 Villa I Tatti* Daire 10-11 Via di Vincigliata 26 American Institute of Pakistan Studies Besiktas, Istanbul, Turkey 50135 Florence, Italy 138 Tolentine Hall Villanova University Vi I la nova, PA 19085 NOTE: All but Villa I Tatti are members of the Council of American Overseas Research Centers. Those indicated with an asterisk have received support from NEH.

30 A m eric a n S ch o o ls o f O riental R esea rch

BY LINDA BUTLER orey f ASOR ofCourtesy NIMALS WERE FIRST domes­ languages, religion, and art history. A ticated there. Grains were first The organization currently oversees cultivated, pottery first developed, forty projects in seven Middle East­ minerals first smelted. Writing was ern countries and disseminates the invented there. Permanent settle­ knowledge gained from these proj­ ments were formed; cities rose. ects through lecture programs in the Probably no area of the globe is as United States and publications that mined with the detritus of human range from the scholarly Journal of civilization as the Middle East. Cuneiform Studies to the more popu­ One organization committed to ex­ lar Biblical Archaeologist. ASOR also ploring this archaeological treasure helps to train future generations of trove is the American Schools of archaeologists in host countries, for Oriental Research (ASOR), a consor­ example, by teaching them how to tium of some 180 educational institu­ apply computer technology to the tions and more than 6,000 individu­ field of archaeology. als dedicated to furthering knowl­ In a swath of land once known as edge about the peoples and cultures the Fertile Crescent, stretching from of the Middle East. Founded in 1900 the Euphrates to Egypt, projects by private American interests in Je­ supported by ASOR span 50,000 rusalem under the Ottoman Turks, years from the Stone Age to modern ASOR survives in a region where times. At Ain Ghazal, a Neolithic vil­ politics continue to be as bitter and lage site in Jordan, archaeologists divisive as when the Ammonites have discovered some of the earliest and Moabites fought it out in the known human statues, 8,000 years tenth century B.C. old. The excavation of a Chalcolithic Today, with administrative head­ village at Shiqmim in present-day Is­ quarters in Philadelphia, a publica­ rael, sheds light on the development tions office in North Carolina, and of irrigation, agriculture, and the rise three permanent overseas facilities in of urbanism. Archaeologists working Israel, Jordan, and Cyprus, ASOR is in northern Syria hope to uncover the largest single archaeological or­ clay tablets from the second to third ganization in the Middle East. Al­ millenium B.C. At the Bronze and though ASOR does not currently Iron Age sites of Ashkelon and Tel have in-country centers in Syria or Miqne (the biblical Ekron) in Israel, Iraq, American committees exist for archaeologists seek to solve the mys­ those countries, and ASOR hopes to tery of the origins of the Philistines. expand activities there also. In addi­ Excavations continue at Caesarea, Top to bottom: The William Foxwell Albright Institute tion to providing vital support for the great classical city and harbor de­ of Archaeological Research in Jerusalem, the Ameri­ can Center of Oriental Research in Amman, and the archaeological excavations, ASOR veloped on the Mediterranean by future home of the Cyprus American Archaeological disburses more than $125,000 a year King Herod the Great. (See article in Research Institute in Nicosia. in fellowships (some supported by Humanities, Vol. 7, no. 5.) NEH) to further scholarship in ar­ In Jordan, one project covers a chaeology, history, anthropology, network of Roman fortress complex­ es that are far better preserved than their counterparts in Europe because Linda Butler is a freelance writer in the of the use of stone rather than wood Washington, D.C., area. in the superstructures. (See article in

31 us to get beyond that and grow in a servation that could be instructive to­ significant way." day, for the Middle East offers valu­ With this and an earlier challenge able lessons about the types of crops grant, ASOR has been able to con­ to be planted and the adverse effects solidate its overseas facilities. In 1986 of overgrazing and water wastage in a five-story modern building in Am­ the fragile ecosystem that exists be­ man was completed to house the tween the Mediterranean on the American Center for Oriental Re­ west and the desert to the east. search. ASOR's principal facility in Of course, the embarrassment of the Arab world, the center had oc­ archaeological riches also poses a di­ cupied rented quarters since its lemma for governments in the re­ founding in 1968 following the Six- gion, says Sauer. The desire to pre­ Day War. In 1987, a patrician villa serve and learn from the past and was purchased in Cyprus to house the need to prepare for the future the Cyprus American Archaeological are often at odds. Pressures of eco­ Research Center, which was estab­ nomic development constantly lished in Nicosia in 1978. The grant threaten the archaeological deposit. also helped ASOR to modernize the Whenever foundations are dug for facilities of its oldest center in Jerusa­ buildings, dams, or highways, there lem, the Albright Institute of Archae­ is the risk of obliterating irreplace­ ological Research. able archaeological evidence. These three centers, which serve In what may prove to be one of its as overseas extensions for the col­ most enduring contributions, ASOR leges and universities belonging to has been in the forefront of efforts in the consortium, provide residential the field of salvage archaeology. An quarters for visiting scholars as well example of this cooperation occurred as work areas, laboratories, comput­ between developers and archae­ This pitcher, found in 1981 at Tell el Hesi, Is­ rael, depicts Bes, an Egyptian divinity whose er facilities, research equipment, and ologists at Umm Bigal in Jordan. In province was pregnant women and children. storage space. The centers' research the course of building a reservoir, libraries are among the best in the construction engineers came upon countries they serve. some 4,000-year-old Bronze Age "The importance of permanent fa­ tombs. ASOR and Jordanian archae­ cilities in supporting and initiating ologists, working within sight of the Humanities, Vol. 8, no. 1.) Another overseas projects cannot be over­ waiting bulldozers, cleared the project for the Islamic period in­ emphasized," Sauer explains. "Ameri­ tombs and recorded data as the work volves the excavation of a remarkably can projects have proliferated in the proceeded. preserved 1,200-year-old Arab city countries where we have centers "What may be for some Americans buried in the sands at Aqaba in largely because of the kinds of a relatively obscure and arcane field southern Jordan. Projects in Cyprus services that we provide. With our is a source of national pride and focus on pottery of the Bronze Age, well-developed ties with the host identity to people in the Middle early settlement patterns, Dionysian governments, we can spare scholars East," says Sauer. "They consider ar­ and Roman cults, and Byzantine immense amounts of time and effort chaeological sites a national re­ church paintings. by handling the logistical and bu­ source, even an economic resource With a 1986-89 challenge grant reaucratic details necessary to their because of tourism. What our cen­ from NEH, ASOR plans to extend its work. In Jordan, for example, the ters do has a significant impact on reach by increasing its general and number of projects with ASOR has those countries." program endowments. The chal­ doubled over the past decade to Today, as during the time of the lenge grant makes ASOR eligible for more than twenty a year." Ottomans, ASOR bridges a gap be­ more than $500,000 in federal funds Excavations under way today may tween the political turmoil of the if private donations three times that be less newsworthy than the spec­ present and the hidden mysteries of amount are raised. These private tacular tomb finds of Egypt earlier in the past to bring archaeologists, his­ contributions are ahead of schedule the century or the discovery of the torians, linguists, and other scholars thus far, and by 1990 the total funds great desert cities of Palmyra or Pe­ closer to understanding the enigma received under the challenge grant tra, but they are equally important that is the Middle East. & should exceed $2 million. in revealing how people lived by According to ASOR president showing industrial activity, cult prac­ James Sauer, "We have always had a tices, architecture and city planning, Since 1972, the American Schools of tremendous growth potential by vir­ defense, and trade patterns. As dis­ Oriental Research has received a total of tue of our extensive contacts in the parate as these projects appear, most $2.1 million in support from NEH region and the built-in constituency of them demonstrate the ability of through the Division of Education Pro­ that we enjoy because of our large human beings to adapt to an often grams, the Division of Fellowships and membership. The only thing holding hostile environment. According to Seminars, the Division of Research Pro­ us back was financial constraints, Sauer, some projects may provide an grams, and the Office of Challenge and the challenge grant has enabled understanding of soil or water con­ Grants. T he A m erica n A cadem y in R o m e

BY HRACH GREGORIAN

In the same way that the great national hus announced a 1902 brochure tered with companions with like competition in France for the grand prix T privately printed by the Ameri­ aims to gain "familiarity with best de Rome has made the Ecole des Beaux Arts can Academy in Rome (AAR). The examples," and knowledge "that in Paris the first art school of the world; academy, initially called the Ameri­ shall fit them for the nation's service." so, it is believed, will the national com­ can School of Architecture, had been McKim had been inspired by his petition instituted by the American founded six years earlier by Charles experience as a student at the Ecole, Academy increase the efficiency of the Follen McKim, who was famous also where he had witnessed firsthand universities and art schools of America. for his architectural work as a mem­ the resources made available to the ber of the influential firm of McKim, French by their academy in Rome. Mead and White. According to the Of greater influence, perhaps, had 1902 brochure, the academy was to been his acquaintance with a tal­ Hrach Gregorian is director of grant pro­ be a place where young American ented group of architects, sculptors, grams at the U.S. Institute of Peace and architects could spend an extended landscapers, artists and craftsmen a former program officer in the NEH Di­ period of time, separated from "any brought together by Chicago archi­ vision of Fellowships and Seminars. commercial considerations," clois­ tect Daniel Burnham to plan the orey f h Aeia Aaey n Rome in Academy American the of Courtesy

33 The Original Founders' Plaque in the academy loggia (left) lists such illustrious names as John Pierpont Morgan, Henry Clay Frick, and Charles Pollen McKim. Above, the library at the American Academy in Rome was designed by the famous architectural firm of McKim, Mead, and White, ca. 1911.

World's Columbian Exposition of ples of collaboration within the clas­ "boasted a staff of one, a fellowship 1893. This endeavor, having pro­ sic discipline were still honored, be­ of three, and a guest student." duced one of the great turning came of first importance to him." Expanded to include painting and points in the cultural and artistic From the beginning, there was lit­ sculpture, the school was renamed evolution of the nation, convinced tle question but that the academy the American Academy in Rome in McKim of the fruitful potentialities would be situated in Rome. McKim 1897. It merged in 1913 with the of similar collaborative efforts. wrote, "as between Rome and all American School of Classical studies In their book, The American Acade­ other Italian cities, give me Rome. and through subsequent decades in­ my in Rome, 1894-1969 (University Rome contains for the architect the corporated still more disciplines in Press of Virginia, 1973), Lucia and greatest number of examples." Rome the humanities. In 1914, the acade­ Alan Valentine relate the impression also contained, besides the great my moved into its present headquar­ left on McKim by his work with the French academy, other centers of ad­ ters at the summit of the Janiculum group designing the Columbian Ex­ vanced study, including the Spanish Hill overlooking Rome. There, the position: "The special skills of each and Hungarian academies, and the main building, the Villa Aurelia, and profession had brought to fruition German Archaeological Institute, adjacent property contain the resi­ the artistry of the others. It was a with its much admired classics li­ dence of the fellows, studios, work­ lesson, he felt, that must be passed brary. So it was that in November rooms, a dining hall, lounges, offic­ on to future generations of American 1894, the American School started. es, and the library, which has been artists. The need for an American Situated in eight rooms on the upper ranked among the ten most distin­ school in Europe, where the princi­ floor of the Palazzo Torlonia, it guished in the world.

34 orey f h Aeia Aaey n Rome in Academy American the of Courtesy

Originally a seventeenth-century roadside inn, the Casa Rustica on the academy grounds houses studio space for academy artists.

The library's holdings of approxi­ architecture and topography in Italy viduals. Since 1976, NEH has pro­ mately 100,000 volumes are chiefly and the Roman provinces. vided support for three post-doctor- in classical studies. Cited as especial­ Simply put, the American Acade­ al fellowships awarded annually. ly strong are collections in classical my is a private center for artists and These year-long fellowships in clas­ art history and archaeology, ancient scholars at every professional level sical studies, post-classical human­ history, Greek and Latin languages who wish to pursue independent istic studies, and the history of art and literatures, ancient topography, study and research. Each year ap­ have supported a host of projects ex­ especially the history of the city of proximately thirty Americans are amining such topics as the develop­ Rome, ancillary classical fields, in­ awarded the Rome Prize in the fine ment of free-standing sculpture dur­ cluding epigraphy, numismatics and arts, design, and humanistic studies. ing the High Renaissance in Rome papyrology, and ancient religions. Selected by national, rotating juries, and Florence, religion and philoso­ As is often noted by fellows, the fellows work with artists and schol­ phy in Roman Stoicism, the impact specialized and concentrated nature ars from a variety of disciplines. Dis­ of Italian "rationalist" architecture on of the library's holdings render it su­ course among members of the acade­ the Modern Movement, and Fascist perior to many larger research librar­ my and between American and policies toward "low" culture in inte­ ies. Additionally, facilities such as European artists and humanists is rior Italy. the Vatican Library; the Hertziana, encouraged. Fellows, residents, and The experience of one NEH/AAR which specializes in art history; the guests attend lectures, talks, exhib­ fellow, Dorothy Glass, professor of libraries of the German Archaeologi­ its, concerts, and informal presenta­ art history at the State University of cal Institute; and the French school tions of works in progress and visit New York in Buffalo, mirrors that of are available to researchers. open studios and archaeological most Rome Prize recipients. Having Adjacent to the library within the sites. They are also invited to events studied Italian Romanesque sculp­ main building is the Fototeca Unione, sponsored by other national acade­ ture at the academy during 1985-86, the photographic archive of the mies in Rome. she has prepared a soon-to-be-pub- Union of Academies in Rome. Com­ Funding for the Rome Prize comes lished manuscript on Romanesque prised of some 25,000 photographs from numerous sources including Sculpture in Campania; contributed re­ and negatives, this collection makes the federal government, private lated articles to journals; delivered available material on ancient Roman foundations, corporations, and indi­ lectures on her work at the Ohio

35 hts orey f h Aeia Aaey n Rome in Academy American the of courtesy Photos

State University, Duke University, Century Paris (M.I.T. Press, 1983), Bryn Mawr College, and Columbia and Rebecca J. West's Eugenio Mon­ University; and become a consultant tale: Poet on the Edge (Harvard Uni­ to the J. Paul Getty Museum. versity Press, 1981), which was Speaking of her year at the acad­ awarded the Modern Language As­ emy, Glass notes: "The terrific thing sociation's Howard R. Marraro Prize. about Rome is the people at the To imbue talented Americans with academy and the people they bring knowledge "that shall fit them for in. Taking part in every activity the nation's service" was the goal set available to fellows is almost ex­ out by Charles McKim in founding Top: The academy organizes tours to major hausting. There was something the American Academy. Conse­ sites in the Mediterranean area with fellows every night. I found out how archae­ quently, as numerous artists and and residents. A wall in the academy's court­ yard (beneath) shows an ancient inscription. ologists and painters think about scholars take advantage of the ideas I hold as an art historian. It unique opportunity to study in was an enormously valuable experi­ Rome and, through the dissemina­ ence which expanded my under­ tion of knowledge there gained, en­ standing and consequently affected rich the lives of their fellow citizens, my writing and teaching. People academy fellows act as informal am­ whom I had always wanted to meet bassadors, sharing the intellectual were brought in as guests for discus­ and artistic wealth of the nation with sions and this had still greater influ­ their European counterparts. As one ence on my thinking. The experience commentator has written of this ven­ broadens everyone's base." erable institution, "The Founding Fa­ NEH/AAR fellows have produced thers of the American Academy a long list of significant works. A should be well content: The Acade­ partial list includes Victoria DeGra- my is behaving even better than zia's The Culture of Consent (Cam­ they intended." bridge University Press, 1981), Car­ olyn Springer's The Marble Wilderness: Since 1968, the American Academy in Ruins and Representation in Italian Ro­ Rome has received a total of $1.5 million manticism, 1775-1850 (Cambridge in support from NEH through the Divi­ University Press, 1987), Richard Et- sion of Fellowships and Seminars, the lin's The Architecture of Death: The Division of Research Programs, and the Transformation of the Cemetery in 18th- Office of Challenge Grants.

36 THE Humanities

for those who are thinking GUIDE of applying for an NEH grant RPSL DALNS RNS GUIDE GRANTS DEADLINES PROPOSALS The Persuasive Proposal: DOCUMENTING CHINA IN REVOLUTION BY CAROLINE TAYLOR

In 1986 the Film News Foundation of fifty people in the United States and New York received support from NEH China were interviewed. to prepare a script for a documentary Panelists and reviewers found the film about China during the years proposal persuasive because of its bal­ 1911-49. The foundation returned in anced treatment of the subject. As one 1987 with a proposal to produce reviewer noted, "the directors also "China in Revolution," a two-hour his­ seem aware of the ideological differ­ torical documentary focusing on three ences that divide the People's Republic intellectual issues currently being pur­ and Taiwan— differences that include sued by China scholars in the West: widely varying interpretations of the economic modernization in the coun­ 1930s." The reviewer praised the film's tryside, the role of the state, and approach to these differences, noting China's identity in the world. The that the inclusion of varying interpreta­ In the film's central focus is on Chiang Kai- tions presented by subjects from Taiwan GUIDE shek and Mao Tse-tung, who fought and from the People's Republic would on the same side as young men in the greatly enrich the film's presentation. 37 The effort to unite China and who later be­ In the course of examining China Persuasive came enemies in a power struggle that during a crucial period in its history, Proposal: lasted two decades and resulted in the the film also sheds light on how histo­ Documenting establishment of the People's Republic. rians work, on the complexity of his­ China in The two 60-minute programs con­ torical forces in China at that time, Revolution templated in the proposal use a wide and on how political and economic 40 Recent NEH variety of archival film footage from histories affect a variety of people. Grants by American and Chinese collections, in­ A panelist described the proposal as Discipline cluding the Julien Bryan, John E. A l­ one that "presents history and histor­ 46 Deadlines len, and Randall collections, as well ical research in the best way possible, as materials at Pace University. The as an effort to put together and inter­ archival footage is interspersed with pret various sources. The format en­ first-person testimonies that present gages the viewer in the endeavor of in­ conflicting interpretations of events. terpretation and is, therefore, educa­ During the scripting phase, more than tional in the broadest sense of the word.

37 GRANTS 38 em a cmltd n impressive an completed had team the task." They included Paul Cohen Cohen Paul included They task." the it "yet panelist, one commented arly," film located had research, of amount versity, a specialist on the historiogra­ the on specialist aversity, Uni­ Harvard and College of Wellesley h Uiest fClfri tSn Di­ atSan California of University the on specialist a University, Columbia be to them panelists judged project, vitality." and lifehas schol­ and sensitive, is balanced, "This depicted. events the in participated had and world, the over all resources treat­ sophisticated "tough-minded, a of modern China. Joining the project project the Joining China. modern of narrative." terizesthe ol oa ogwytwr broaden­ toward way long ago would Georgetown of Chi Wang and ego right for "just and respected" "highly who commentators important up lined Tse-tung Mao present not it does bly, Admira­ revolution. in China of ment at a later date were Paul Pickowicz of Pickowicz Paul laterwere dateat a historian a University, Yale of Spence Jonathan and politics; Chinese modern Kai-shekbeing as Chiang portraynot viewers of the fruits of recent historical recent fruits theof of viewers theof Eastman Lloyd China; of phy plexity instead of simplicity charac­ simplicity of instead plexity Republican period; Andrew Nathan of Nathan Andrew period; Republican does conversely, and,terms mythic in nd ytebscapoc. ih the With approach. basic the by ened heart­ particularly was "I noted, viewer re­ itsone history. in As period cal criti­ thisduring China on scholarship nfetv. I fc, e oe, "com­ noted, he fact, In ineffective." University of Illinois, a scholar of theof scholar a Illinois, of University watershed in Chinese life that we lifethatwe Chinese in watershed increasingly are scholars western aware­ greater with and Mao of death ing appreciation among American American among ingappreciation University. wr ht 99ws nottotalthe 1949 was that aware tory of China which should be under­ be should which China of tory longer no can era Republican "the that it." perceived sometimes today, China in nessconditions of the since China in changes many stood on its own terms." its own stoodon showing by added, he perceptions, u n nerl ato h oen his­ modern partof the integral butan 1949 to prelude a assimply viewed be The panelists noted that the project project notedthatthe panelists The As for the scholars involved in the in involved scholars the for As as proposal the saw panelist Another Many on the panel thought the filmthe thought panel the on Many The film would help change these change help would film The mrcn Tongues. American Center for New American Media, New New Media,Center American for New Kolker,ducers: Andrew Louis Alvarez. variation inStates.theUnited Pro­ one-hourA documentary language on fundamentalist movement itsand 90-minuteA documentary about the York, NY. aeii Fv olgs Ic, Am­ Five Inc.,Colleges,Camerini. groundingincommunity-church val­ theMassachusetts Foundation forthe Church. Baptist Fundamentalist a in Life Again: Born 30-minuteA audiodramatization of (Alsoherst,receivedsupport MA. from ues. Producers: James Michael Ault, ore it Genius. into Journey Repertory,Radio John Globe Siscoe. ed Souls. Dead Humanities Policy.) Publicand A one-hourA dramatic filmexamining Seattle, WA. himself. Producers: Jean Sherrard, ere Productions, New York,Productions, (Also NY.ere New thefrom life early ofEugene O'Neill Russian antihero's scheme to enrich Gogol'sNikolaiclassic novel about a h ytr fte ot e Paint Red Lost the of Mystery The Skaggs. Producer: Calvin Lumi-zon." A one-hourA documentaryportraying receivedsupport from the Connecticut 1920Prizein Beyondthe Hori­ for “ theCulture, anMaritimeearlyArchaic HumanitiesCouncil.) People. 1907tohis receipt of the Pulitzer from Humanities theCouncil.) Maine A 45-minuteA dramatic film based aon Northeastreck. Project, Archaeology 3,500years Producer:ago. Tim- T.W. NorththatAmerica flourished 8,000to Indiancultureof coastal northeastern uce Maya. Quiche ofreligious faith. Executive producer: adolescentan wrestles questionswith shortstoryin which Updikeby John A 30-minuteA documentary onthenar­ ien Feathers. Pigeon York, (Also NY.received supportNew Popul Vuh: Sacred Book of the of Book Sacred Vuh: Popul mi. FilmArtsAmlin. Foundation, San Producer: PatriciaAmerican culture. mythsof major the a Maya,Central rativeaccount of thesacred creation oe Films listedNote: ore those 1988.that ascompletedwere oflune Robert LearningGeller.in Focus, Inc., New York, NY. New 1988 NHSPOTD FILMS NEH-SUPPORTED

The Revolt of Mother. of Revolt The fromthe forCalifornia Council the The Silence of Bethany. of Silence The Benlifer. Brianducer: Learning in abouttwoyoung siblings learnwho fromFreemanastory Wilkins byMary 50-minuteA documentary adapted comesembroiled in communitycon­ traditionsoflife Mennonite and be­ youngMennonitemanseeks who 90-minuteA dramatic film about a shipsbyobserving their parents. Pro­ aboutthe complexity of adultrelation­ ocs n Visions. and Voices Cambridge, MA. 90-minuteA dramatic pittingfilm an flict. Producer: Tom Cherones. Keener Humanities.) (AlsoreceivedFrancisco,support CA. A thirteen-partA documentary series on LaraLeibovici.Classics,Annie Inc., against a compassionate herbalist- ascetic 13-century friarDominican Sorceress. meaning in the progress-threatened York, NY. New Focus, Inc., completed. Executiveproducer: Law­ Stevens, Langston andWallace ElizabethCarlos Williams, William theworldand work of American Productions, LosAngeles, CA. o My al e aa Secretary. Madam Her Call May You forYork, History,Visual NY. New Emily poets,Whitman, including Walt healer hewhomsuspects of conduct­ Massachusetts,Jersey, New andNew (Alsoreceived support from state hu­ Pamela Berger, Georges Rheinhard, ingheretical practices. Producers: Aone-hour documentary about York.) manitiesincouncilsConnecticut, rencePitkethly.York The New Center Hughes. Sixfilms in the series are Bishop,Moore,Plath, Marianne Sylvia HartCrane, T.S. Eliot, Robert Lowell, EzraDickinson, Robert Pound, Frost, WestTisbury, (Alsoreceivedsup­ MA. TheFrances Perkins Project,Film Inc., ducers: Robert Potts, Potts. Marjory tionfor the Humanities Publicand FrancesPerkins, thefirst cab­ woman port from theMassachusetts Founda­ Labor(1933-1945) andone of Amer­ inetmember as F.D.R.'sSecretary of Policy.) ica'soutstanding social reformers. Pro­ REWARD YOURSELF!

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39 GRANTS 40 RECENT RECENT ud taeigehbto, aaou, sympo­ travelingfund catalogue, aexhibition, History, Natural of Museum American Zaire. cidru: 4000 R $0,0 F. To FM. $100,000 OR; $450,000Schildkrout: Anthropology Archaeologyand traveling exhibition,brochures, and catalogue ex­ sium, and other educational programs that exam­ ofhistory, anthropology, and folklore. programs family cational ethnic exploring the ploring themeaning androle of traditional crafts­ Studies, $183,640. Staub: To support a D. Ethnic Shalom PA; for Institute Balch ine inhistorical perspective the art of northeastern turywomen and their quilts. and Hands,"adocumentary history of19th-cen­ costs for the NEH-funded film Legacy "A of Hearts businessin Philadelphia throughthe perspectives plana temporary Studies, exhibition, catalogue, Ethnic and for edu­ Institute Balch manshipin contemporary American society. tives. times inanthropological historical and perspec­ Americancultures from late prehistoric to recent Film Arts Foundation, Foundation, Arts Film PA; Debora Kodish: $33,337 $7,500 OR; FM.To Harvard U., U., Harvard postproduction To support $25,000. Ferrero: Tisdale:$14,980. To plana permanent exhibition the since America in nation and community express notions maintain folklore to of andof atraveling exhibition Heritage, exploring the popular Barbara National usesMA; Franco: A. $201,500. Our To of implement Museum ment a permanent exhibitionlovsky: $150,000 To imple­ $550,000 FM. that OR; examines native on Indian Cahuilla culture and history. Palm Springs Desert Museum, Museum, Desert Springs Palm ih $42,227.vich: To support Museum, documentation Seaport ar­ of Street South Texas A&M Research Foundation, Foundation, Research A&M Texas chaeologicalcollections from excavations of five 1880s. tion;Donald Frey: A. $22,220. To support clean­ historical sitesYork New inCity. hc is nearwhich islandan north ofHaiti. artifactscollected from the Molasses Reef wreck, calsite andmuseum complexsissippian at Moundville, Ala­ Phase (from 900 to 1450) archaeologi­ replicating conserving,ing, and analyzing, the cilin a prehistoric aAchilleion, site in Thessaly. bama. $41,283. To Alabama, support of planningU. to interprettheMis- $3,900. To publish excavation the reports fromCalifornia, of U. GM GM GM GM Cambridge, Lamberg-Kar-C.C. MA; LosAngeles; Ernestine Elster:S. ucloa Duls . Jones:Tuscaloosa; E. Douglas San Francisco, Pat D.CA; GN NYC; Sally Yerko- NYC;

H E N GM A Seb J. Shelby CA; Philadelphia, Philadelphia, olg Sta­College NYC; EnidNYC; Lexington, GS GM RO RP GM American Architectural Foundation, Foundation, $69,952. Schultz: To imple­ Judith S. DC; ton, Architectural American focuses religiouson thought and behavior as ex­ Arena Stage, Stage, Arena earlyAmerican architect Robert Mills. Virginia Division of Historic Landmarks, Landmarks, Historic of Division Virginia ae: 7,1 O; $15,000 $70,015 ToWager: FM.support OR; a pressed through language and song. publish a study Texas, of of anU. Appalachian community that of data,and related archival research on the ship­ ater during the1987-88 seasons,and to place theseries of community symposia and essays to inter­ ment a traveling exhibition examining the work of World Music Institute, Inc., Inc., Institute, Music World wrecksite in Yorktown Harbor. OR; $25,000 Broadwater: D. John mond; Thornburgh: $60,000. To funda three-year series GP pret thedramatic productions offered bythe the­ $15,000 To FM.continue conservation, analysis comprehensive view of the fine arts, history,dramatic readings, liter­ and discussions provide to a lectures,of musical demonstrations, dance and plays in cultural, historical, and literary context. HistoryandArts— ilr $25,189.Miller: To support theproduction of six ods. ature, and philosophy of selected historical peri­ West, Humanities cordings, and archival materials. 30-minute radio documentaries, which of each tionalconference onrecent directionsin interdis­ Criticism profiles an ethnic traditionalmusician living in the ilnr researchciplinary romanticism. on United States through interviews, livemusic, re­ Johns Hopkins U ., ., U Hopkins Johns $26,000 $5,000 OR; ToFM. conduct U., aninterna­ Indiana iul mgs n vra txs rm England, texts from verbal images and visual teachingin the humanities to thisfrominterpretive 1720 to 1820ap­ to introduce facultymembers Paulson: institute $200,842. an To conduct on Timuridart asas well the aesthetic philosophy of exhibition, programs catalogue, public and ex­ proach. France, America,Italy, and Germany in the period lrn te oiia ad oil implications social of and politicalploring the Art, of Museum County Angeles Los focusing onart patronagein the late 19th-century Milwaukee Art Museum, Museum, Art Milwaukee Powell: $200,000 $200,000 OR; ToFM. fundan iws ad n h rl ad ucin f the of function and role the on and Midwest $144,303. To implement atemporary exhibition 15th-century Iranian central and Asian art. GRANTS Someof theitems in this list are offers, not finalawards. BY DISCIPLINE BY GP EH Austin; Theresa $5,000. To May: J. Bloomington; Kenneth Johnston: R. ahntn D; oga C. Douglas DC; Washington, a Facso C; Elaine Francisco,SanM. CA; atmr, D Ronald MD; Baltimore, l E James Mundy: E. Wl; Y; eec S. Rebecca NYC; RO GN

RX RP A EarlA.CA; Washing­ GM Rich­ GM threeyears of annualthree-day colloquia onthe waukee. dramatic offerings of the New Jersey Shakespeare theunpublished writings and musical analysis theOster/Schenkerof Collection, consistswhich of century music theory. Festival. $19,514 Barry: $36,796R. Festival, ToOR; FM. conduct Shakespeare Jersey New Layton in the ArtGallerycultural history ofMil­ temporarytraveling catalogue,andexhibition, $50,000 $196,550 ToWest:support FM. OR; a Aegean painting in the Bronze Age. oilstudies, and sculpture related to Americanart­ Society of Architectural Historians, Historians, Hungarian Architectural of Society of dimensions avant-garde cultural 1908-1930. art, and the United States. volume, state-by-state seriesvolumes buildings the on (Connecticut of and Michigan) multi­ ofa Art, of Museum Barbara Santa Press, U. State Pennsylvania morethan 4,000 photographs, letters, Arts, drawings,phia; KathleenFine Foster: the A.of $25,000. To Academy document Pennsylvania Topublish the first volume of a two-volume study Library, $61,281. Public To support York preservation New microfilming of public programs that examine historical,political, istThomas Eakins and his immediate circle. n C Townsend: C. $174,966.Ann To implement an Exhibitions, Museum for Trust Italianeval panel paintings. of the decorationof gildedsurfaces on late Press, medi­ U. Syracuse 20th- formative Schenker, in figure aHeinrich A Aof . lce: $60,000. Placzek: To prepare K.PA; Adolf two ip Winsor:$5,000. To publisha synoptic work on through 16th the century. exhibition explaining the form,history, and mean­ post-Byzantine painting icon traditions continuation Byzantinethe Crete icons and oning of of GM dramatic texts reflect and the culture of age. an Collection, examining how theseabout designs set and costume designs interpret from the Motley $399,699 OR; FM.To support aninterpretive ex­ balletscore, Rite "The of Spring." Igor Stravinsky's study publish of$3,500. To a Press, California of U. hibition,educational programs, andpublications Illinois, of U. Classics Stanford U., U., Stanford ofthe late 8th tothe mid-9th century. vival,asocial, cultural, and political renaissance ih scholarlylish a assessment Byzantineofthe re­ GP GM A GrantBarnes:CA; $7,300. To pub­ Urbana;Michael$250,000Mullin: RO Y WlaMtaf $5,500.Metcalf: Walda NY; Berkeley;Lynne E.Withey: PS GM Y; on Shepard: John NYC; University Park;Phil­ RP GM Washington, DC; A RichardV. CA; Madison;Ellen RP Philadelphia, RP RP Philadel­ GM Westminster College, New Wilmington, PA; Al­ Western civilization for teachers in SUNY's two- between Alexander Hamilton and Thomas Jeffer­ bert Dwight Castro: $112,066. To conduct a five- year colleges. EH son. GN week summer institute for 30 Latin teachers on the literature and culture of the post-Augustan Age. ES Stanford U., CA; Grant Barnes: $5,300. To pub­ An American Portrait, NYC; Thomas P. Johnson: lish a comprehensive account of the revolution of $19,921. To plan a 90-minute television docu­ 1905, an event pivotal to Russia's development in mentary examining Japanese-American relations History— Non-U.S. the 20th century. RP and the events leading to the attack on Pearl Har­ bor. GN Agnes Scott College, Decatur, GA; Ellen W. Hall: U. of Arizona, Tucson; Peter E. Medine: $47,475. To conduct a summer workshop focus­ $141,011. To support a six-week institute for col­ Berkshire Museum, Pittsfield, MA; Field Horne: ing on four major texts that represent epochs in the lege teachers on Milton's Areopagitica, Paradise $26,500. To plan an exhibition on the history of Western tradition. EH Lost, and Samson Agonistes. EH Berkshire County that will reflect the interaction of people and the landscape. GM Alabama Agricultural & Mechanical U., Normal; U. of California Press, Berkeley; Lynne E. Withey: Catholic U. of America, Washington, DC; Linda Bessie W. Jones: $88,581. To fund a four-week $5,000. To publish a comprehensive study of dis- VaIli: $64,566. To support a four-week summer summer seminar for university faculty on the texts entailment in 19th-century Spain. RP of four major medieval authors: Aquinas, Dante, institute for 30 secondary school teachers on the origins and development of the Constitution. ES Chaucer, and Froissart. ET U. of California Press, Berkeley; Lynne E. Withey: $6,000. To publish a scholarly study that exam­ Center for Contemporary Media, Atlanta, GA; Arts Foundation of New Jersey, New Brunswick; ines the role and function of the grammarian in Joyce M. Maso: $198,908. To support a four-week Jed Dannenbaum: $90,597. To fund post­ late antiquity. This volume will be part of The production expenses for a 90-minute documen­ summer institute for 45 secondary school teachers Transformation of the Classical Heritage series. RP and administrators on the life and times of Leonar­ tary film on the southern journalist and civil rights advocate, Ralph McGill. GN do da Vinci. ES U. of California, Berkeley; Joseph A. Rosenthal: $498,411 OR; $500,000 FM. To preserve Europe­ Brown U., Providence, Rl; Barbara S. Lesko: Channel 5 Public Broadcasting, Inc., Reno, NV; an language and literature materials to ensure the Danny L. McGuire: $20,000. To plan a feature- $19,000 OR; $5,000 FM. To conduct an interna­ serviceability of approximately 22,000 volumes tional conference on women in the ancient Near length television dramatization of the life of Allen that are too deteriorated for use, especially the Allensworth, from 1842 to 1914. GN East. RX French, German, Italian, and Spanish volumes. PS Columbia U., NYC; David J. Rothman: $180,000. Chesapeake Bay Maritime Museum, St. Michaels, MD; Richard J. Dodds: $5,000. To plan a comput­ To design and implement an interdisciplinary U. of California, Los Angeles; Robert I. Burns: course that examines the values and institutions erized collections management system for the $20,000 OR; $4,000 FM. To support an interna­ museum's collections of artifacts and documents that have shaped medical care in Western civiliza­ tional conference on the Inquisition in Spain and tion. EH pertaining to the social and economic history of the New World, concentrating on its role in the the Chesapeake Bay region. GM development of the latter. RX Cornell U., Ithaca, NY; John G. Ackerman: $3,000. To publish a study of the mid-19th-cen- Clarity Educational Productions, Inc., Berkeley, U. of Connecticut, Storrs; Marvin R. Cox: CA; Connie E. Field: $20,000. To plan a feature- tury Islamic millennial movement that was the last $396,826. To conduct a cooperative faculty de­ attempt to reform the Shi'ite faith predominant in length dramatic film on the 1964 Mississippi Free­ velopment project that will involve university and dom Summer Project. GN Iran today. RP high school teachers in a model Western civiliza­ tion course. EH Duke U., Durham, NC; Marcel Tetel: $163,623. Columbia U., NYC; Ronald J. Grele: $5,319 OR; To conduct an institute on the literary and histor­ $2,500 FM. To support the completion of a project ical contexts of the Essays of Michel de Mon­ U .o f Florida, Gainesville; Richard Hunt Davis, Jr.: to computerize the catalogue and master bio­ taigne. EH $171,845. To support a four-week national insti­ graphical index of the Oral History Collection. RC tute in which 30 high school social studies teach­ Fordham U., Bronx, NY; John P. Entelis: ers will study African history in the context of Columbus Museum, GA; Fred C. Fussell: $131,853. To fund a three-week summer institute world history. ES $206,693 OR; $150,000 FM. To implement a for 30 New York State secondary school teachers permanent exhibition on the history of the Chatta­ on the history and culture of the modern Middle U. of Maryland, College Park; Charles E. Butter- hoochee River valley from prehistoric times to the East. ES worth: $18,000 OR; $2,000 FM. To support an present. GM international conference on the political dimen­ Jackson State U., MS; Dernoral Davis: $79,983. sions of Islamic philosophy, specifically as they East Tennessee Historical Society, Knoxville; To conduct an institute for high school students on emerged in the teachings of medieval Muslim phi­ Mark V. Wetherington: $78,566. To support film the intellectual and philosophical origins of the losophers. RX and book discussion programs for senior citizens U.S. Constitution. ET that explore southern history from colonial times U. of North Carolina Press, Chapel Hill; Lewis A. to the present and early 20th-century American New York Public Library, NYC; Diantha D. Bateman: $4,725. To publish a book that exam­ history. GP Schull: $15,000 OR; $4,621 FM. To plan an inter­ ines the medieval practice in western France of pretive exhibition and programs on printing and making donations to monastic foundations to ob­ Educational Film Center, Annandale, VA; Ruth S. GRANTS the French Revolution of 1789. GL tain spiritual benefits. This book will be part of the Poliak: $53,359. To write the script for a 60-min- Studies in Legal History series. RP ute historical television drama for young people Northern Illinois U., DeKalb; Mary L. Lincoln: ages 10-13, about a Confederate girl's homefront $4,820. To publish a study of the role of the Impe­ Valentine Museum, Richmond, VA; B. Frank Jew­ experience during the Civil War. GN ell: $172,646. To support an exhibition, cata­ rial Russian bureaucracy in the Stolypin Reforms. Films in Progress, Inc., Hoboken, NJ; Robert E. RP logue, and public programs exploring the history of the slave and free black populations in ante­ Clem: $20,000. To plan a feature-length film dra­ bellum Richmond. GM matizing the life and career of Alabama governor Princeton U. Press, NJ; Margaret H. Case: James E. "Big Jim" Folsom, who held office from $7,620. To publish a study of the religious and 1947 to 1951 and from 1955 to 1959. GN cultural life of the artisan class in Banaras, India. History— U.S. RP Great River Project, New Orleans, LA; Edward C. American Association of School Administrators, Kurtz, Jr.: $40,000. To write one script for a pro­ Rhode Island School of Design, Providence; Flor­ Arlington, VA; Walter G. Turner: $40,054. To plan posed three-part dramatic mini-series on the dis­ ence D. Friedman: $170,846. To implement a a series of three institutes on American history and covery and settlement of the Mississippi River val­ traveling exhibition that illustrates the diversity literature for high school teachers from small and ley. GN and richness of Egyptian Coptic art and ideas from rural school districts. ES Harvard U., Cambridge, MA; Sally Schwager: the formative stages of this culture to the Arab $150,000. To support a three-year project on conquest in A.D. 641. GM American Historical Association, Washington, DC; Noralee Frankel: $18,000 OR; $4,000 FM. women in American history. ES SUNY Research Foundation/Binghamton, NY; To support a national conference on the relation­ Paul E. Szarmach: $119,024. To support an insti­ ship among women, the family, and politics in the Henry Ford Museum & Greenfield Village, Dear­ tute on Arthurian myth in its medieval and modern Progressive Era. RX born, Ml; Peter H. Cousins: $94,590. To imple­ manifestations. EH ment a permanent exhibition that presents the life American History Media Center, Washington, of Noah Webster. GM SUN Y Research Foundation/Albany, NY; Wayne DC; Tim Hackler: $20,000. To plan a 60-minute M. O'Sullivan: $129,727. To fund an academic- documentary with two one-man dramatic perfor­ ISHI: Film Project, Inc., Austin, TX; N. Jed Riffe: year faculty study project on selected topics in mances exploring the philosophical differences $43,860. To write a script for a 60-minute docu­

41 mentary about the life of Ishi, the last surviving U. of California, Berkeley; Bernard R. Gifford: and a conference on publishing black children's Yahi Indian, and his relationship with anthropolo­ $299,484 OR; $68,000 FM. To support a two- literature. GL gist Alfred Kroeber. GN year project on the American Constitution featur­ ing two four-week summer institutes and academ- CUNY Research Foundation/Queens College, KCET-TV, Los Angeles, CA; Bette Y. Cox: $20,000. ic-year follow-up activities. ES Flushing, NY; David Cohen: $150,000. To sup­ To revise the script for a 30-minute television pro­ port a series of lectures and reading and discus­ gram for children ages 8 to 12, about Elizabeth U. of Illinois, Urbana; Barton M. Clark: $13,192. sion programs for new immigrants to explore the Taylor Greenfield, a 19th-century black opera To change the technique required for microfilm­ themes of individualism and family through Amer­ singer, as part of a series about black American ing the D'Arcy Collection of advertisements dat­ ican literature and history. GL composers and performers. GN ing from 1890 to 1970. RC Center for Puppetry Arts, Atlanta, GA; Diane Kenyon College, Gambier, OH; Peter M. Rutkoff: U. of Michigan, Ann Arbor; Jerome M. Clubb: Kempler: $16,680. To conduct a self-study assess­ $55,000. To prepare a study of the 20th-century $105,000 OR; $25,000 FM. To complete a com­ ing the quality and content of the center's perma­ New York artists who created the movement puter data base of family expenditures and living nent collection of international puppets, its li­ known as modernism. Artists in the period conditions in the United States from 1935 to 1936, brary, and its educational programs. GM 1900-70 will be examined, with the focus on based on a survey conducted by the Bureau of intellectual and urban history. RO Labor Statistics. RT Chautauqua Society, Inc., Bismarck, ND; Clay S. Jenkinson: $201,050 OR; $59,200 FM. To sup­ Louisiana Library Association, Baton Rouge; U. of North Carolina Press, Chapel Hill; Lewis A. port 16 one-week scholarly residencies over two James 0. Segretto: $199,899. To support "Ameri­ Bateman: $4,197. To publish a study of an impor­ summers in the Dakotas, Nebraska, and Kansas. can Vistas," a series of scholar-led reading and tant but previously neglected aspect of Pu­ Scholars will lead discussions about Thomas discussion programs in parish libraries throughout ritanism: its adherents' desire to practice forms of Jefferson, Alexander Hamilton, Elizabeth Stanton, Louisiana. GL church life that they believed reflected early Chris­ Abigail Adams, and Henry Adams. GP tianity. RP Louisiana State U., Baton Rouge; Beverly Jarrett: College of the Holy Cross, Worcester, MA; David $3,984. To publish a memoir of Carter G. Wood­ U. of North Carolina Press, Chapel Hill; Lewis A. L. Schaefer: $189,023. To support a four-week son, founder and director of the Association for Bateman: $3,670. To publish a study of the impact institute for secondary school teachers to study the the Study of Negro Life and History and editor of of the Depression and the New Deal on Baltimore U.S. Constitution in relation to classical political the Journal of Negro History, by Lorenzo Greene, during the 1930s. RP philosophy. ES Woodson's close associate. RP WNET/Thirteen, NYC; David R. Loxton: Colorado State U., Fort Collins; Loren W. Crab­ Louisiana State U., Baton Rouge; Beverly Jarrett: $300,000. To support costs related to the national tree: $193,872. To support a four-week summer $2,840. To publish a study of the Union League, public television rebroadcast of the 13-part dra­ institute for 36 Wisconsin secondary school the first important political organization in the matic series, "The Adams Chronicles." GN teachers on India and China. ES reconstruction South. RP Columbia U., NYC; Ehsan Yarshater: $88,185 Maine Maritime Museum, Bath; John S. Carter: Interdisciplinary OR; $200,000 FM. To support work on the Ency­ $100,000 OR; $80,000 FM. To implement a per­ clopedia Iranica, a reference work covering all manent exhibition on the history of maritime ac­ Albert Schweitzer Center, Great Barrington, MA; aspects of the history and culture of the Iranian tivities in Maine and their impact on the nation. Antje Bultmann Lemke: $21,157. To preserve the speaking peoples, both ancient and modern, as GM Albert Schweitzer Center's col lection of the photo­ well as their interaction with neighboring peoples. Mississippi Department of Archives and History, graphs of documentary film maker Erica Ander­ RT Jackson; H. T. Holmes: $4,952. To microfilm the son, 1945-75. PS papers of Judith Sargent Murray, from 1751 to Community College of Philadelphia, PA; Karen 1820, a corpus that encompasses 22 volumes of American Association for State and Local History, Bojar: $252,214. To support a summer institute letters and literary manuscripts by this early Amer­ Nashville, TN; Larry E. Tise: $168,519. To plan for part-time students on methods of incorporating ican writer. PS two conferences designed to strengthen history cultural literacy into composition courses. EH museums as interpreters of American history. GM Newberry Library, Chicago, IL; John H. Long: Connecticut Players Foundation, Inc./Long $185,000 OR; $40,000 FM. To support a histor­ American Council of Learned Societies, NYC; Ja­ Wharf Theatre, New Haven, CT; James D. Luse: ical atlas of the county boundaries of all states east son H. Parker: $100,000. To establish a consor­ $433 OR; $30,258 FM. To support a series of of the Mississippi River from their colonial begin­ tium of university-based China studies programs panels and publications to examine the human nings to 1980. RT that will administer the Universities Service Cen­ condition through political, sociological, histor­ Old Sturbridge Village, MA; John E. Worrell: tre in Hong Kong. Rl ical, psychological, and literary perspectives, $31,397. To support a historical study on the eco­ drawing on the theatrical offerings of a New En­ nomic life of country towns around Worcester, American Library Association, Chicago, IL; Eve­ gland stage. GP Massachusetts, between 1790 and 1850. RO lyn F. Shaevel: $90,000. To support two regional Coppin State College, Baltimore, MD; Delores G. workshops for librarians and scholars in order to Kelley: $129,580. To support a series of faculty Onondaga County Department of Parks & Recre­ enhance the intellectual approach to the design seminars on the critical reading of central texts to ation, Liverpool, NY; Dennis J. Connors: and implementation of educational programs in be introduced into the general education curricu­ $40,150. To plan a permanent exhibition that ex­ the humanities for young adults. GL amines European and native American contacts in lum. EH the 17th century. GM Arkansas Museum of Science and History, Little Dawson's Book Shop, Washington, DC; Richard Rock; Alison B. Sanchez: $28,914. To implement A. Wyndham: $39,511. To select 13 humanities Social Science Education Consortium, Inc., Boul­ an exhibition that examines Arkansas in the period films that focus on American biography and the der, CO; James R. Giese: $150,786. To conduct a immediately after statehood (1836) through the scripting of introductions for an anthology. The four-week summer institute for 30 secondary observations of the German traveler Friederich goal is to redistribute the films in an educational school teachers on the early national period in Gerstacker, who visited Arkansas from 1837 to package to reach wider audiences. GN American history. ES 1843. GM Strong Museum, Rochester, NY; Harvey Green: Bard College, Ann-on-Hudson, NY; Mark H. Ly­ Department of Overseas Missions, NYC; George $171,338. To support an exhibition, publication, tle: $137,317. To conduct a four-week national M. Miller: $20,000. To plan a television program and educational programs linking the appear­ institute in which 30 high school social studies featuring a performance of and commentary on ance, production, and consumption of household teachers will study American history from 1929 to James Weldon Johnson's Cod's Trombones (1927), textile furnishings to cultural issues in Victorian 1945. ES a book of seven African-American sermons in America. GM verse. GN Brown U ., Providence, Rl; Robert A. Shaw: Strong Museum, Rochester, NY; Harvey Green: $198,780 OR; $50,000 FM. To conduct a series of Exiles Project, NYC; Richard Kaplan: $263,424 $13,329. To plan an exhibition, publication, and three-week institutes in 1988 and 1989 for sec­ OR; $140,000 FM. To produce a two-hour docu­ public programming examining the origins of ondary school teachers in Rhode Island and mentary about the European refugee scholars, art­ modern American advertising. GM southeastern Massachusetts on literature, history, ists, and intellectuals who migrated to the United and foreign language. ES States prior to World War II. GN U. of Arkansas, Fayetteville; John A. Harrison: $172,571. To support Arkansas' participation in CUNY Research Foundation/City College, NYC; Exit Films, Inc., Cambridge, MA; Frederick Wise­ the U.S. Newspaper Program, includingcatalogu- Betty L. Jenkins: $150,000. To support a keynote man: $324,183. To produce a film examining the ing an estimated 2,100 titles and entering records address, an exhibition, lectures, a book fair, a relationship of ethical, religious, medical, and le­ of titles and holdings into the national newspaper one-day conference on the history and current gal issues to dying patients in an intensive care data base. PS state of black book publishing in the United States, unit of a major metropolitan hospital. GN

42 Field Museum of Natural History, Chicago, IL; Montana Historical Society, Helena; Jennifer J. To plan a traveling exhibition examining recent Nina M. Cummings: $1,700. To plan a major proj­ Thompson: $8,240. To plan a symposium expli­ discoveries about the Spanish-Basque presence in ect to preserve the museum's photographic collec­ cating the social and cultural history of Washing­ North America in the 16th century. GM tion. PS ton, Idaho, Montana, North and South Dakota, and Wyoming—to be held in conjunction with the Rochester Institute of Technology, NY; James M. Harvard U., Cambridge, MA; Nathan I. Huggins: states' centennials in 1989 and 1990. GP Reilly: $120,199 OR; $25,000 FM. To research $20,000 OR; $2,000 FM. To support an interna­ the causes of deterioration of cellulose acetate tional conference on slavery and the development Mount Holyoke College, South Hadley, MA; photographic film (safety film) and the develop­ of the Atlantic trading system. RX Wendy M. Watson: $21,975. To plan a traveling ment of recommendations for the preservation of exhibition, catalogue, and interpretive programs this type of film. PS Heritage College, Toppenish, WA; Rose H. that examine the impact of technological change Arthur: $140,369. To support a project that will on French culture at the time of the Universal Rutgers U., New Brunswick, NJ; Reese V. Jenkins: strengthen introductory courses by integrating the Expositions of 1889 and 1900. GM $25,000. To write a script for a 60-minute docu­ great texts of Western civilization with works from mentary that will examine the creative process of native American and Hispanic American cultures. Museum of the City of New York, NYC; Rick invention by exploring the work of Thomas Edison EH Beard: $21,372. To support a self-study to evalu­ and the world in which he lived. GN ate the museum's resources and revise its inter­ SUNY Research Foundation/Buffalo Main Cam­ Hiram College, OH; Carol C. Donley: $125,620. pretive exhibitions and programs. GM To support an institute to help medical personnel pus, NY; Robert J. Bertholf: $82,802. To complete and college faculty incorporate humanities texts National Academy of Sciences, Washington, DC; a project to preserve the manuscripts and books and issues into college curricula, medical Mary B. Bullock: $715,000 OR; $115,000 FM. To contained in the library's comprehensive collec­ schools, and the clinical environment. EH continue scholarly exchange and related grant ac­ tion of 20th-century poetry written in English. PS tivities in the humanities with the People's Re­ Shakespeare & Company, Lenox, MA; Beatrice K. Holocaust Memorial Foundation of Illinois, Sko­ public of China. Rl kie; Pearl R. Karp: $15,513. To support a course Nelson: $ 150,000. To support a three-year project for nontraditional learners in holocaust and geno­ National Council on the Aging, Inc., Washington, on Shakespeare involving institutes, workshops, cide studies to be offered three times in 1987-88. DC; Ronald J. Manheimer: $149,334. To support and curriculum development for Boston elemen­ EH scholar-led reading and discussion groups and tary and secondary school teachers. ES library research projects for older adults in six Idaho State Library, Boise; Karin E. Ford: library systems across the nation. GL Social Science Research Council, NYC; Frederic $63,616. To support Idaho's participation in the Wakeman: $455,775. To support research activi­ U.S. Newspaper Program, which involves cata­ National Foundation for Jewish Culture, NYC; ties of the Joint Committee on Eastern Europe, loguing an estimated 800 newspapers and pro­ Richard A. Siegel: $100,083 OR; $50,000 FM. To ACLS/SSRC. Rl ducing 300 reels of preservation microfilm. PS support a multi-disciplinary program of confer­ Stone Lantern Films, Inc., Washington, DC; Sarah ences, symposia, lecture series, film series, radio Indiana Historical Society, Indianapolis; Peter T. Mondale: $25,000. To revise the script for a 60- programs, exhibitions, and community-initiated minute documentary film tracing the evolution of Harstad: $90,340 OR; $30,000 FM. To microfilm public activities to explore Jewish culture in Israel the philosophy of care for the mentally ill in Amer­ 600,000 pages of Indiana newspapers, complet­ and America. GP ing the U.S. Newspaper Program in Indiana. PS ica, using the story of St. Elizabeth's Hospital in Washington, D.C., as a case study. GN National Humanities Center, Research Triangle Japan Society, Inc., NYC; John K. Gillespie: Park, NC; Charles Blitzer: $95,940. To support Temple U., Philadelphia, PA; David M. Bartlett: $55,000. To develop three instructional units on two three-week institutes for high school teachers, $10,000. To publish a study of the American pho­ Japan for undergraduate instructors, international one on the theory of republican government from tographer William Henry Jackson, 1843-1942. study programs, courses in comparative literature, ancient times to the modern period, and the other RP and courses in world civilization. EH on the ways authors seek a public role for liter­ ature. ES Tennessee State U., Nashville; Clayton C. Reeve: Jefferson State Junior College, Birmingham, AL; $80,000. To support a four-week institute for high Agnes R. Pollock: $186,017. To support a series of school students on the historical and cultural de­ five interdisciplinary faculty seminars based on New York Public Library, NYC; Irene M. Percelli: velopment of the American Constitution. ET the content of existing humanities honors courses. $213,435 OR; $150,000 FM. To participate in the EH U.S. Newspaper Program, which includes cata­ loguing 4,900 English newspapers and 1,150 Jew­ Texas Humanities Resource Center, Inc., Austin; Frances M. Leonard: $118,000. To circulate pro­ John Trumbull Patriot-Artist Association, Mor­ ish, Slavic, and Oriental newspapers. Approxi­ gram packages that explore the history, culture, ristown, NJ; Marge G. Dahle: $20,000. To plan a mately 500,000 newspaper pages will be micro­ and art of the viceroyalty of Peru and examine and two-hour drama on the life and art of John Trum­ filmed. PS analyze colonialism as an influential part of the bull, American historical and portrait painter. GN American experience. GL New York U., NYC; Leslie Berlowitz: $150,343 Johns Hopkins U., Baltimore, MD; George B. Ud- OR; $50,000 FM. To support a series of public Touchstone Center for Children, NYC; Richard varhelyi: $100,060 OR; $75,000 FM. To conduct lectures and film discussion programs for a com­ Lewis: $7,000. To plan six 15-minute radio pro­ a two-year series of coordinated lectures, sympo­

prehensive historical assessment of the French gram segments for children that will examine cre­ GRANTS sia, colloquia, and film discussion and the devel­ Revolution and its international impact over the ation myths of indigenous cultures. GN opment of a video anthology exploring the inter­ past 200 years. GP section of medicine and the humanities. GP Tufts U., Medford, MA; Steven Hirsch: $112,557 OR; $143,529 FM. To support a three-year project Johns Hopkins U., Baltimore, MD; Jerome Kruger: Newport Public Library, Rl; Eileen H. Warburton: to create a world civilizations program focusing $100,284 OR; $25,000 FM. To support a research $173,604. To support a series of programs at li­ on three two-semester, humanities-centered project on the effects of re-sizing on book paper braries in four states on the cultural continuities courses, "Cultures through Calendars," "Memory and the longevity of books that have been re­ between several New England states and the "near and Identity," and "Conceptions of the Earth." EH bound. PS frontier" of the Ohio Western Reserve. GL U. of Alabama, Tuscaloosa; Malcolm M. Mac­ Johns Hopkins U., Baltimore, MD; Eric F. Hal- Oklahoma State U., Stillwater; Carolyn J. Bauer: Donald: $2,522. To publish an annotated transla­ pern: $10,000. To publish an 18th-century ac­ $149,853. To support a four-week summer insti­ tion of the poet and playwright Samuel Romanel- count of an expedition to Suriname that will in­ tute for 45 elementary school educators on the li's account of his sojourn in Morocco from 1786 clude the reproduction of some 80 plates that development, ratification, and significance of the to 1790. RP were engraved by William Blake, among others, Constitution. ES for the 179b edition of the work. RP U. of California, Berkeley; Cary I. Sneider: Old Sturbridge Village, MA; Peter S. O'Connell: $50,000. To plan an exhibition, catalogue, and $101,250 OR; $64,000 FM. To support a three- MillsapsCollege, Jackson, MS; Harrylyn G. Sallis: planetarium presentation that examine the role of year project on American history in the early na­ scientific and technological knowledge in explo­ $67,795. To support six humanities seminars to be tional period, 1790-1840. ES presented in the next three years for nontraditional ration by focusing on the voyages of Columbus. GM learners from the corporate and professional com­ Oregon International Council, Salem; Robert T. munity in Jackson, Mississippi. EH Willner: $81,510. To support a four-week institute with follow-up activities on Asian culture for 30 U. of California, Riverside; Henry L. Snyder: Mississippi Department of Archives and History, elementary and secondary school teachers. ES $175,000. To continue the Eighteenth Century Jackson; Elbert R. Hilliard: $26,317. To support Short Title Catalogue, through the addition of the preservation microfilming of Mississippi news­ Partners for Livable Places, Washington, DC; 300,000 records for items available in British re­ papers, a part of the U.S. Newspaper Program. PS Robert H. McNulty: $40,000 OR; $25,000 FM. positories. RC

43 U. of Hawaii Press, Honolulu; William H. Hamil­ Cornell U., Ithaca, NY; Bernhard Kendler: ton: $7,000. To publish a study of the origins and Language and Linguistics $2,000. To publish Volume 5 in the edition of the letters of Margaret Fuller, the 19th-century Ameri­ uses of the earliest Chinese vernacular narratives Cleveland State U., OH; Laura Martin: $6,000. To can critic and writer. RP known as Pien-wen, derived from a type of oral support an international conference on Mayan storytelling that used picture scrolls with religious linguistics, focusing on the analysis of patterns of themes. RP Cornell U., Ithaca, NY; Bernhard Kendler: $7,700 discourse. RX OR; $5,000 FM. To publish a two-volume edition U. of Hawaii at Manoa, Honolulu; John R. Haak: Columbia U., NYC; Marvin I. Herzog: $75,000. of the 1805 and 1819 stages of composition of The $2,000. To plan the microfilming component of To support work on the Great Dictionary of the Prelude, the central work of Wordsworth's matu­ the U.S. Newspaper Program in Hawaii. PS Yiddish Language. RT rity. RP Cornell U., Ithaca, NY; Bernhard Kendler: U. of Maryland, College Park; Peter H. Curtis: Fairfax County Public Schools, VA; Maria G. $3,365. To publish an edition of Wordsworth's Wilmeth: $173,445. To support a three-year se­ $192,255. To support a U.S. Newspaper Project shorter poems composed between 1807 and in Maryland, involving cataloguing approximate­ ries of four-week institutes for foreign language 1820. RP ly 1,300 titles of newspapers held in more than 60 teachers. ES repositories and microfilming approximately Friends School of Baltimore, Inc., MD; Zita D. East Tennessee State U., Johnson City; Roberta T. 500,000 pages of newspapers important for re­ Dabars: $500,000. To support two four-week in­ Herrin: $166,613. To support a three-week insti­ search. PS stitutes in the summers of 1988 and 1989 with tute on children's fantasy literature for teachers of grades two through seven in the Appalachian re­ U. of Notre Dame, IN; James T. Cushing: $7,600. Bryn Mawr College for 25 secondary school and college teachers who will study Russian culture gion of Georgia, Kentucky, North and South Car­ To support an international conference on the im­ olina, Tennessee, Virginia, and West Virginia. ES plications of quantum theory, including recent and language. A symposium in 1990 will follow. ES developments, for the various branches of the dis­ Folger Shakespeare Library, Washington, DC; cipline of philosophy. RX GWETA, Inc., Washington, DC; Mary E. Aladj: Margaret H. O'Brien: $203,334. To support a $25,000. To promote the rebroadcast of the six- four-week summer institute to help 30 secondary U. of Notre Dame, IN; J. Samuel Valenzuela: part dramatic series, "Shoulder to Shoulder." GN school teachers of Shakespeare deal more effec­ $20,000 OR; $12,000 FM. To conduct an interna­ tively with his language. ES tional conference on the role of labor movements Howard U., Washington, DC; Filisha C. Camara- in national transitions from authoritarianism to Norman: $80,000. To support a four-week insti­ French Forum, Publishers, Lexington, KY; Ray­ democracy. RX tute for high school students on the French lan­ mond C. La Charite: $1,485. To publish an edition guage and Francophone literature and culture. ET of the 12th-century romance, Le Roman des Sept U. of Washington, Seattle; Nancy Murphy: Sages de Rome. RP D3 $277,230. To support a collaborative project for U. of California, Berkeley; Robert P. Hughes: 92 Washington teachers who will study the histo­ $25,000 OR; $15,000 FM. To support an interna­ French Library in Boston, MA; Vera G. Lee: ry, literature, and art of China and Japan and de­ tional conference on Christianity in Russia over $12,932. To plan collaboration with Boston Col­ velop materials for statewide use. ES the past millenium. RX lege and Boston middle schools to design a project for the improvement of instruction in French liter­ U. of California, San Diego, La Jolla; Leonard D. U. of Washington, Seattle; Naomi B. Pascal: ature, history, and language. ES $2,000. To publish a history of the Chinese and Newmark: $50,000 OR; $2,500 FM. To create a Japanese immigrant experience in the United data base consisting of all the words and idioms Global Village Video Resource Center, Inc., NYC; States since 1850. RP included in extant dictionaries of the Albanian John L. Reilly: $292,888 OR; $25,000 FM. To language. The data base will be used to produce a write a script for a 60-minute documentary on the U. of Wisconsin, Green Bay; David H. Galaty: comprehensive Albanian/English dictionary. RT life and art of Samuel Beckett and production of a $180,000. To develop one or two course modules companion 60-minute program presenting three U. of Chicago, IL; Harry A. Hoffner: $47,036. To on individual great works in the humanities and of his plays along with introductory and linking prepare the Hittite Dictionary. RT the adaptation of these modules to a variety of commentary. GN curricular contexts. EH U. of Colorado, Boulder; Paul M. Levitt: Globe Radio Repertory, Seattle, WA; John P. Sis- $154,473 OR; $143,307 FM. To support a four- U. of Wisconsin, Madison; Barbara J. Hanrahan: coe: $17,810. To write scripts for 12 30-minute week national institute on writing about literature. $8,942. To publish a detailed study of the slave radio programs dramatizing Franz Kafka's The ES trade between Portuguese West Africa and Latin Castle. GN America. RP U. of Nebraska, Lincoln; Debra K. Turner: James Agee Film Project, Johnson City, TN; Ross U. of Wisconsin, Milwaukee; Brian J. Harley: $22,747. To purchase updated computer equip­ ment that will enable the University of Nebraska H. Spears: $50,302. To write a script for a 90- $38,050. To plan an exhibition and programs on minute documentary on the multiple legacies of the history of the Columbian encounter as ex­ Press to increase its effectiveness as a publisher of scholarly books in the humanities. RP Let Us Now Praise Famous Men by photographer pressed by historical geography and cartographic Walker Evans and author James Agee. GN history. GL U. of Pennsylvania, Philadelphia; Ake W. Sjoberg: Johns Hopkins U., Baltimore, MD; Eric F. Hal- Vanderbilt U., Nashville, TN; George J. Graham, $85,500. To support work on The Pennsylvania Sumerian Dictionary, which provides quotations pern: $4,900. To publish an intellectual biogra­ Jr.: $153,474. To support a four-week secondary phy of literary critic I.A. Richards. RP school institute on 5th-century Greece, focusing of all Sumerian words in full context, selected from all known cuneiform texts. RT on art, literature, and philosophy. ES Langston U., OK; Neva Joy Flasch: $72,480. To support a four-week institute for high school stu­ WGBH Educational Foundation, Boston, MA; Pe­ dents on literature and war in the Western tradi­ ter S. McGhee: $300,420 OR; $300,000 FM. To Literature tion. ET produce seven 60-minute documentaries about Columbus's voyages, the cultural environment in Albany State College, GA; James L. Hill: $77,251. Learning in Focus, Inc., NYC; Robert Geller: which they took place, and the legacies of the To support a four-week institute for high school $500,000 OR; $450,000 FM. To produce two 60- European contacts with America. GN students on poetry in Western culture. ET minute dramatizations of American short stories for a series for young people ages 13 to 18: "First Brookline Public Schools, MA; Naomi Gordon: Winterthur Museum, DE; Scott T. Swank: Love and Other stories" by Harold Brodkey and $116,899. To support a four-week summer insti­ $74,218. To plan a revised training manual for "The Hollow Boy" by Hortense Calisher. GN interpreters that provides a thematic organization tute for 40 school teachers in the Brookline area for the museum's collections of decorative and who will study literature, writing, and rhetoric, Louisiana State U., Baton Rouge; Beverly Jarrett: fine arts used in America from 1650 to 1850. GM focusing on Oedipus Rex, The Canterbury Tales, $2,733. To publish a volume of selected letters Middlemarch, and Invisible Man. ES written by Henry James to the English man of Yale U ., New Haven, CT; Hesung C. Koh: letters, Edmund Gosse. RP $55,945. To support activities following a summer CUNY Research Foundation/City College, NYC; institute on Korean history and culture to prepare Saul N. Brody: $150,000. To support a four-week Modern Poetry Association, Chicago, IL; Joseph curricular materials on Korea and East Asia for use institute on novels, lyric poetry, and short stories A. Parisi: $20,000. To plan and develop 13 30- in schools throughout the country. ES in Western literature. ES minute radio programs on the history of American poetry since World War II. GN Yale U., New Haven, CT; Gay Walker: $116,000 Carolina Wren Press, Inc., Carrboro, NC; Judith F. OR; $500,000 FM. To preserve European history Hogan: $74,500. To support a series of workshops North Texas Public Broadcasting, Inc., Dallas; materials, a project that will reclaim over 23,000 and lectures that encourage the reading, study, Patricia P. Perini: $67,807. To write a script for a volumes and serial holdings for scholarly use in and interpretation of literature and the develop­ 90-minute film exploring the fiction of Eudora the future. PS ment of interpretive skills through writing. GL Welty. GN

44 Otherworld Children's Media, Seattle, WA; Judith and on selected non-Western texts to provide a gram of grants-in-aid for postdoctoral research in A. Walcutt: $20,000. To plan the dramatic adap­ critical perspective. EH the humanities. RR tation to radio of two works of literature, Jonathan Swift's Gulliver's Travels and Lillian Heilman's U. of North Carolina, Charlotte; Anita W. Moss: American Council of Learned Societies, NYC; Watch on the Rhine, for the W G B H "Radio $325,000 OR; $120,000 FM. To support a three- Christina M. Gillis: $50,000. To support a pro­ Movies" series. GN year project, including three summer institutes, gram of fellowships for postdoctoral research in on British and American literary classics. ES the humanities. RR Pennsylvania State U. Press, University Park; Phil­ ip Winsor: $7,450. To publish an English transla­ U. of Notre Dame, IN; Terry V. F. Brogan: American Council of Learned Societies, NYC; tion of a 14th-century Latin handbook for preach­ $160,000 OR; $20,000 FM. To support a revised Douglas Greenberg: $85,000. To support a pro­ ers that includes moralizing fabulae, exegeses, edition of the Princeton Encyclopedia of Poetry gram of fellowships for recent recipients of the and poems to be used in sermons. RP and Poetics. RT Ph.D. degree in the humanities. RR VOICES, NYC; Everett C. Frost: $132,989. To pro­ Stanford U., CA; Grant Barnes: $7,000 OR; Cultural Literacy Foundation, Charlottesville, VA; duce three radio plays by Samuel Beckett, Embers, $1,000 FM. To publish the first volume in an edi­ Eric D. Hirsch, Jr.: $119,446. To create general Cascando, and Rough for Radio II; three accom­ tion of the poetry of Robinson Jeffers. RP knowledge tests and source-books for elementary panying documentaries; and a fourth documenta­ and middle schools. ES U. of Alabama, Tuscaloosa; Ralph Bogardus: ry to be presented with the NEA-supported radio $159,674. To support a four-week institute for play, Words and Music. GN Film News Now Foundation, NYC; Susan M. W il­ 11th-grade English teachers from western Ala­ liams: $800,609. To produce a two-hour histor­ bama who will study four novels of the 1920s and ical documentary film about China during the 1930s in their cultural contexts. ES Philosophy years 1911-49. GN

U. of Alabama, Tuscaloosa; Malcolm M. Mac­ Ethics and Public Policy Center, Washington, DC; South Puget Sound Community College, Olym­ Donald: $4,554. To publish lyric poems by Lord Edwin J. Delattre: $269,593. To support a series of pia, WA; Michael W. Shurgot: $215,000. To de­ Byron that were written to be sung to music based four conferences on ethics in business and in busi­ velop a comprehensive humanities curriculum on Hebrew melodies. Thisfacsimileof theoriginal ness education. EH with a core of new and revised courses, new edition will describe the collaboration between faculty positions, additional library materials, and Hackett Publishing Company, Inc., Cambridge, Byron and composer Isaac Nathan. RP activities for faculty development. EH MA; James N. Hullett: $4,693. To publish a study U. of Alabama, Birmingham; William C. Carter: on the philosophy of color. This book, intended U. of California, Santa Cruz; Gabriel Berns: $67,452. To write the script for a 60-minute docu­ primarily for an audience of philosophers, draws $1 72,174. To support an institute on literary trans­ mentary film on the life and work of French novel­ on new scientific studies and theories. RP lation models for teachers of modern languages. ist Marcel Proust, 1871-1922. GN The focus will be on the translation process and Harvard U., Cambridge, MA; Hilary Putnam: the historical, cultural, and stylistic issues in­ U. of Arizona, Tucson; Gregory L. McNamee: $20,000 OR; $15,000 FM. To support an interna­ volved in the effort to recreate the text. EH $5,436. To publish an annotated translation from tional conference on the thought and works of the Japanese of an autobiography by a Tokugawa Charles Sanders Peirce. RX U. of Hawaii, Honolulu; Janet F. Heavenridge: samurai. RP $28,500. To purchase updated computerized Indiana U., Bloomington; Janet B. Rabinowitch: equipment that will enable the University of $6,000 OR; $1,000 FM. To publish Volume 4 in U. of California Press, Berkeley; Lynne E. Withey: Hawaii Press to publish books in the humanities the edition of the writings of American philoso­ more efficiently and economically. RP $6,900. To publish an English translation of Boiar- pher Charles Sanders Peirce. RP do's 15th-century epic romance, Orlando Inna- morato, which will be printed with the Italian text Marist College, Poughkeepsie, NY; Peg E. Bir­ Capital letters following each grant amount en face. RP mingham: $58,939. To strengthen an introducto­ have the following meanings: FM (Federal ry level required course on ethics and ethos. EH U. of California, San Diego, La Jolla; Diego Cata­ Match); OR (Outright Funds). Capital letters lan: $25,282. To support work on the General Princeton U., NJ; John Cooper: $180,000. To sup­ following each grant show the division and the Catalogue of the Pan-Hispanic Romancero and port a six-week institute on Aristotle for college program through which the grant was made. the International Electronic Archive of the Roman­ teachers of Greek philosophy. EH DIVISION OF EDUCATION PROGRAMS cero. RT Saint Bonaventure U., St. Bonaventure, NY; Con­ EB Central Disciplines in Undergraduate rad L. Harkins: $6,717 OR; $1,500 FM. To pub­ Education U. of California, Santa Cruz; John O. Jordan: lish Volume 2 of the Lectura Secunda of Adam de EK Improving Introductory Courses $118,867. To support a four-week institute in Wodeham, the 14th-century philosopher and in­ EL Promoting Excellence in a Field which 25 high school English teachers from the terpreter of Duns Scotus and William of Ockham. EM Fostering Coherence Throughout an West Coast will study Great Expectations and Jane RP Institution Eyre. ES ES Humanities Instruction in Elementary U. of Chicago, IL; Daniel E. Garber: $163,043. To and Secondary Schools U. of Illinois, Chicago; Gene W. Ruoff: $50,733. conduct a summer institute on the history of early EH Exemplary Projects in Undergraduate To support a series of lectures and a two-day con­ modern philosophy, 1600-1750. EH and Graduate Education GRANTS ference explicating the artistic relationships be­ EG Humanities Programs for tween the artists of the romantic period and the Nontraditional Learners artists and audience of contemporary times. GP Religion DIVISION OF GENERAL PROGRAMS U. of Maryland, College Park; Adele F. Seeff: U. of Florida, Gainesville; Austin B. Creel: GN Humanities Projects in Media $350,801 OR; $67,000 FM. To support, in con­ $150,000. To support a four-week institute on GM Humanities Projects in Museums and junction with the Maryland State Department of Buddhism and Christianity. ES Historical Organizations Education, a three-year series of year-long insti­ GP Public Humanities Projects tutes to help secondary school teachers strengthen GL Humanities Programs in Libraries and their teaching of major literary texts. ES Social Science Archives American Council of Learned Societies, NYC; Al­ U. of Missouri, Columbia; Susan M. Denny: OFFICE OF PRESERVATION $4,954. To publish a facsimile and transcription of len H. Kassof: $250,000 OR; $500,000 FM. To PS Preservation two Renaissance verse miscellanies, unknown to continue advanced research, scholarly exchange, PS U.S. Newspaper Program scholars until 1977, which includes 46 poems by and related grant activities in the humanities with John Donne and other works by members of his the Soviet Union and the socialist countries of DIVISION OF RESEARCH PROGRAMS circle. RP Eastern Europe. Rl RO Interpretive Research Projects U. of Nevada-Las Vegas; Christopher C. Hudgins: American Council of Learned Societies, NYC; RX Conferences $70,316. To conduct a six-week summer seminar Christina M. Gillis: $40,000 OR; $180,000 FM. RH Humanities, Science and Technology designed to reacquaint faculty members with ma­ To support a three-year renewal of a program of RP Publication Subvention jor works in neoclassical, romantic, and realist/ individual travel grants to enable American schol­ RA Centers for Advanced Study modern literatures. EH ars in the humanities to attend international meet­ Rl Regrants for International Research ings held outside North America. Rl RT Tools U. of New Mexico, Albuquerque; Paul B. Davis: RE Editions $37,445. To plan, implement, and evaluate a new American Council of Learned Societies, NYC; RL Translations literature course focusing on major Western texts Douglas Greenberg: $10,000. To support a pro­ RC Access

45 DEADLINES 46 Travel to Collections— SummerStipends— YoungerScholars— 202. is numbers telephone all for code Area SummerSeminars for College Teachers— Fellowshipson the Foundations of American Society— Fellowshipsfor College Teachers and Independent Scholars— Fellowships for University Teachers— HumanitiesProjects in Media SummerSeminars forSchool Teachers— FacultyGraduate Study Program for Historically BlackColleges and Universities— Elementaryand Secondary Education in the Humanities— HigherEducation inthe Humanities— uaiisPoet n Libraries—ProjectsinHumanities PublicHumanities Projects— Humanities Projects in Museums and Historical Organizations— iiin f eea Programs General of Division Seminars-cumevere and Fellowships of Division l Teacher-ScholarProgram for Elementary and Secondary School Teachers— iiin f Education of Division Participants Planning Directors Implementation Participants Joseph B. Neville 786-0466 Neville B. Joseph en rmo 786-0463 Bramson Leon Kathleen Mitchell 786-0463 Mitchell Kathleen Wilsonia Cherry 786-0271 Cherry Wilsonia — James Dougherty 786-0278 Dougherty James Beatrice Stith Clark 786-0466 Clark Stith Beatrice Linda Spoerl 786-0377 Spoerl Linda hms hls 786-0271 Phelps Thomas Maben D. Herring 786-0466 Herring D. Maben y MxelWie 786-0380 White Maxwell Lyn Programs— Michael Hall 786-0463 Hall Michael ent Klo 786-0463 Kolson Kenneth

— D o n a l d G i b s o n ,D i r e c t o r 7 8 6 - 0 2 6 7 ae D Hrig 786-0466 Herring, D. Maben id pel 786-0377 Spoerl Linda jerry l. Martin, Director Director Martin, l. jerry Karen Fuglie 786-0466 Fuglie Karen Marsha Semmel 786-0284 Semmel Marsha c m s t ,D i r e c t o r 7 8 6 - 0 4 5 3 786-0373 August August September September July July October June June June October March March pi 1,1989 April 1989 1, March September September September September Deadline ac 1 1989 1, March December December November January January May May 15,1988 1,1988 ,98January 19891, 1,1988 1,1988 1,1989 , 5 15,1989 , 19898, 1,1988 1,1988 1988 16,1988 9,1988 1,1988 16, 1988 16,1988 January 1989 1, January 1989 1, January 1,1989 January January 1990 1, pi 1989April ue , 1989 1,June uy1 19891,July a , 19891,May April 1,1989April 1989 1,April pi 1 1989 1,April Summer 1989 Summer 1990 December1, 1988 Summer 1989 1989July beginning Forproject December 1989 For project Area code for all telephone numbers is 202. Deadline beginning

D ivision Of Research Programs—Richard Ekman, Director 786-0200

Texts— Margot Backas 786-0207

Editions— David Nichols 786-0207 June 1,1989 April 1, 1990

Translations— Martha Chomiak 786-0207 June 1, 1989 April 1, 1990

Publication Subvention— Margot Backas 786-0207 April 1, 1989 October 1, 1989

Reference Materials—Charles Meyers 786-0358

Tools— Helen Aguera 786-0358 November 1, 1988 July 1, 1989

Access—Jane Rosenberg 786-0358 November 1,1988 July 1, 1989 DEADLINES Interpretive Research— Dorothy Wartenberg 786-0210

Projects— David Wise 786-0210 October 1, 1988 July 1, 1989

Humanities, Science and Technology— Daniel Jones 786-0210 October 1, 1988 July 1, 1989

Regrants— Vacant 786-0204

Conferences— Darrel deChaby 786-0204 February 15, 1989 October 1, 1989

Centers for Advanced Study— David Coder 786-0204 December 1, 1988 July 1, 1989

Regrants for International Research— David Coder 786-0204 March 15, 1989 January 1, 1990

Regrants in Selected Areas— David Coder 786-0204 March 15, 1989 January 1, 1990

Division of State Programs—Marjorie A. Berlincourt, Director 786-0254 Each state humanities council establishes its own grant guidelines and application deadlines. Addresses and telephone numbers of these state programs may be obtained from the division.

OfflCe Of Challenge Grants— Harold Cannon, Director 786-0361 May 1, 1989 December 1, 1989

Office Of Preservation—George F. Farr, Jr., Senior Preservation Officer 786-0570

Preservation— George F. Farr, Jr. 786-0570 December 1, 1988 July 1, 1989

U.S. Newspaper Program—Jeffrey Field 786-0570 December 1, 1988 July 1, 1989

Guidelines are available from the Office of Publications and Public Affairs two months in advance of the application deadlines. Telecommunications device for the deaf: 786-0282.

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