Reaching for the Moon
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Elizabeth Bishop, Brazil, and the Question of Home
Elizabeth Bishop, Brazil, and the Question of Home Yuko Matsukawa GLINDA. en close your eyes and tap your heels together three times. And think to yourself: “ere’s no place like home; there’s no place like home; there’s no place like home.” e Wizard of Oz (1939) e rst stanza of one of Elizabeth Bishop’s most anthologized poems, the villanelle entitled “One Art,” declares, “e art of losing isn’t hard to master;/ so many things seem lled with the intent/ to be lost that their loss is no disaster” (166)1. Bishop (1911-1979) was no stranger to loss: having lost her father when she was eight months old and then having had her mother institutionalized when she was ve, the most profound loss she experienced was that of a stable and loving home. A childhood of being shuttled back and forth between the homes of her maternal and her paternal grandparents as well as that of an aunt did not alleviate her sense of alienation, though boarding school and later Vassar College gave Bishop friends with whom she would stay and/or travel, abroad and within the United States. But it was not until she moved to Brazil in 1951 that she found a place she could call home for over a decade and a half. Her years abroad in Brazil suggest that she was an expatriate writer; yet within the context of American writers who lived abroad, she followed not her immediate ― 527 ― “Lost Generation” predecessors such as Ernest Hemingway and F. Scott Fitzgerald, whose sojourns in Europe were predicated on the assumption that there would always be a return home to the United States, but writers who preceded them and stayed in Europe for most of their lives̶Henry James and Gertrude Stein come to mind̶as well as her contemporaries whose ties to France ( James Baldwin) and Tangiers (Paul Bowles) also rewrote how we understand American writers abroad. -
BOSSA NOVA Außer Konkurrenz BOSSA NOVA BOSSA NOVA BOSSA NOVA
Wettbewerb/IFB 2000 BOSSA NOVA Außer Konkurrenz BOSSA NOVA BOSSA NOVA BOSSA NOVA Regie: Bruno Barreto Brasilien 1999 Darsteller Mary Ann Amy Irving Länge 95 Min. Pedro Paulo Antonio Fagundes Format 35 mm, Acácio Alexandre Borges Cinemascope Tânia Débora Bloch Farbe Nadine Drica Moraes Sharon Giovanna Antonelli Stabliste Vermont Rogério Cardoso Buch Alexandre Machado Gordo Sérgio Loroza Fernanda Young, Peçanha Flávio São Thiago nach dem Roman Juan Alberto de Mendoza „A Senhorita Simp- Roberto Pedro Cardoso son“ von Sérgio Trevor Stephen Tobolowsky Sant’Anna Wan Kim Lau Kazuo Matsui Kamera Pascal Rabaud Reporter Cássia Linhares Kameraassistenz Fabian Silbert Frau am Empfang Kate Lyra Phillippe Piron Verkäuferin Mara Carvalho Schnitt Ray Hubley Englischschüler João Camargo Schnittassistenz Matt Mayer Cláudio Gardin Renato Schvartz Amy Irving, Drica Moraes Concy Maduro Ton Stuart Deutsch Guilherme Miranda Mischung Felix Andrew BOSSA NOVA Joca D’Avila Musik Eumir Deodato Leonardo Miranda Ausstattung Cassio Amarante Die Ehe des Anwalts Pedro Paolo gerät in eine ernste Krise, als er bemerkt, Luís Sérgio Lima E Carla Caffé daß seine Frau Tânia ihn mit ihrem Tai-Chi-Lehrer betrügt. Nur allzu leicht Silva Requisite Wagner Tavares verliebt er sich darum in eine Zufallsbekanntschaft, die ehemalige Stewar- Milton Walley Kostüm Emília Duncan dess Mary Ann, die als Englischlehrerin in Rio arbeitet. Um sie näher ken- Raphael Molina Maske Aloysio Lili Ferraz nenzulernen – und um sich auf ein geschäftliches Treffen mit Trevor, einem Renata Leão Regieassistenz Daniela Braga Sandra Prazeres Produktionsltg. René Bittencourt amerikanischen Kollegen, vorzubereiten – besucht er ihren Kursus. Ein paar Aufnahmeleitung Johnny Catrolli Tage später lädt er sie zum Essen ein und gesteht ihr, wie es um ihn steht. -
Elizabeth Bishop's New York Notebook, 1934-1937 Loretta Blasko
What It Means To Be Modem: Elizabeth Bishop’s New York Notebook, 1934-1937 Loretta Blasko Presented to the American Culture Faculty at the University of Michigan-Flint in partial fulfillment of the requirements for the Masters of Liberal Studies in American Culture May 4, 2006 First Reader Second Reader, Blasko ii Acknowledgements A special thanks to: Sandra Barry of Halifax, Nova Scotia, for your knowledge in all things E.B. and your encouragement; Susan Fleming of Flint, Michigan, for your friendship and going the distance with me; Dr. J. Zeff and Dr. J. Furman, for your patience and guidance; Andrew Manser of Chicago, Kevin Blasko and Katherine Blasko of Holly, Michigan, my children, for pushing me forward; Alice Ann Sterling Manser, my mother, for your love and support. Blasko Contents Acknowledgements, ii Forward, vi Introduction, x Part I 1934 Chapter 1. The Water That Subdues, 1 Cuttyhunk Island. Chapter 2. It Came to Her Suddenly , 9 New York, Boris Goudinov , Faust , The House o f Greed. Chapter 3. Spring Lobsters, 20 The Aquarium, the gem room at the Museum of Natural Science, Hart Crane’s “Essay Modem Poetry,” Wilenski’s The Modern Movement in Art, John Dryden’s plays. Chapter 4. The Captive Bushmaster, 34 Marianne Moore’s “The Frigate Pelican,” Coleridge’s Biographia Literaria, and Loyola’s Spiritual Exercises . Chapter 5. That Face Needs a Penny Piece of Candy, 54 Henry James’s Wings o f the Dove, What Maisie Knew, and A Small Boy and Others, The U.S.A. School of Writing, Salvador Dali. Blasko Part II 1935 Chapter 6. -
RIO LIGNE 174 Dp A4
FILM D’OUVERTURE DU FESTIVAL DE RIO 2008 FESTIVAL INTERNATIONAL DE TORONTO 2008 SÉLECTION OFFICIELLE MACT Productions et Paradis Film présentent UN FILM DE BRUNO BARRETO “RIO LIGNE 174 est un film sur la condition humaine et non pas sur la situation sociale du Brésil ” Bruno Barreto DISTRIBUTION RELATIONS PRESSE Laurette MONCONDUIT 6, rue Lincoln Jean Marc FEYTOUT 75008 Paris Tél. : 01 40 24 08 25 Tél : 01 56 62 30 30 Fax : 01 43 48 01 89 Fax : 01 56 62 30 40 [email protected] www.ocean-films.com Photos, affiche et dossier de presse téléchargeables sur www.ocean-films.com/presse PRESENTATION Les dernières heures de la vie de Sandro do Nascimento, 22 ans, le “preneur d’otages du bus 174”, ont été suivies par des millions de personnes à la télé- vision. Son enterrement n’a été suivi que par une personne: sa mère adop- tive. Après avoir découvert le documentaire Ônibus 174 de José Padilha, le réa- lisateur Bruno Barreto a construit une fiction relatant la rencontre d’un adolescent orphelin et d’une femme obsédée par le souvenir de son fils. La rencontre de deux personnes à la dérive, qui a été ponctuée par la mort d’une jeune professeure et de Sandro, laissant cette mère à nouveau orphe- line de son fils. “RIO LIGNE 174 est un film sur la condition humaine et non pas sur la situation sociale au Brésil. Son histoire, basée sur des événements réels, raconte les trajectoires d’une mère qui perd un fils et d’un fils qui perd sa mère. -
Directed by BRUNO BARRETO Starring
Presents: Directed by BRUNO BARRETO Starring: MIRANDA OTTO GLORIA PIRES TRACY MIDDENDORF Screenplay by MATTHEW CHAPMAN and JULIE SAYRES, Based on the Screenplay by CAROLINA KOTSCHO, AC. Two iconic women One passion Based on the true love story of Elizabeth Bishop and Lota de Macedo Soares. Marketing/Publicity Contacts required viewing Steven Raphael [email protected] Denise Sinelov [email protected] Big Time PR Sylvia Desrochers [email protected] Tiffany Bair Wagner [email protected] Short synopsis Academy Award nominateed filmmaker Bruno Barreto (FOUR DAYS IN SEPTEMBER, DONA FLOR AND HER TWO HUSBANDS) returns with a sophisticated tale of an unlikely romance between two extraordinary artists, set against the backdrop of political upheaval and a clash of cultures. Grappling with writer’s block, legendary American poet Elizabeth Bishop (Miranda Otto) travels from New York City to Rio de Janeiro in the 1950s to visit her college friend, Mary (Tracy Middendorf). Hoping to find inspiration on Mary’s sprawling estate, Elizabeth winds up with much more — a tempestuous relationship with Mary’s bohemian partner, architect Lota de Macedo Soares (Glória Pires), that rocks the staid writer to her foundation. Alcoholism, geographical distance and a military coup come between the lovers, but their intimate connection spans decades and forever impacts the life and work of these two extraordinary artists. The attraction of two polar-opposite women has rarely been so volatile and so erotically charged on the big screen. Long synopsis 1951, a cargo boat arrives in Rio de Janeiro, Brazil coming from New York. ELIZABETH, 40, disembarks, she plans on leaving for a journey through South America on a boat that will depart within 5 days. -
Elizabeth Bishop's Theater of the Inevitable
Elizabeth Bishop’s Theater of the Inevitable Heather Treseler Worcester State University ELIZABETH BISHOP’S BRAZIL, by Bethany Hicok. Charlottesville: University of Virginia Press, 2016. 192 pp. $59.50 cloth; $24.50 paper; $24.50 ebook. ELIZABETH BISHOP’S PROSAIC, by Vidyan Ravinthiran. Lewisburg: Bucknell University Press, 2015. 250 pp. $80.00 cloth; $49.99 paper; $42.50 ebook. “Writing poetry is an unnatural act,” Elizabeth Bishop observed in a set of notes dating from the late 1950s or early 1960s, “it takes great skill to make it seem natural. Most of the poet’s energies are really directed towards this goal: to convince himself (perhaps, with luck, eventually some readers) that what he’s up to and what he’s saying is really an inevitable, only natural way of behaving under the circumstances.”1 That Bishop, by mid-career, aimed to make her poems seem “natural” and “inevitable” is not surprising to those familiar with her craft. But two recent books, Bethany Hicok’s Elizabeth Bishop’s Brazil and Vidyan Ravinthiran’s Elizabeth Bishop’s Prosaic, enhance our understanding of the cultural circumstances and technical theater behind Bishop’s air of inevitability—the uncanny sense, which Bishop readers often have, that her finished poem could not have been written any other way without diminishing its power. Hicok’s and Ravinthiran’s books offer new contexts for reckoning with Bishop’s enduring appeal. As Angus Cleghorn and Jonathan Ellis state in their introduction to The Cambridge Companion to Elizabeth Bishop (2014), “At the beginning of the twenty-first century, her poetry seems, if anything, even more contemporary than during her lifetime, a process facilitated . -
Ampliação E Requalificação Da Vila Olímpica Da Maré
ELAS EM VISTA UNIVERSIDADE FEDERAL DO RIO GRANDE DO SUL CURSO DE ESPECIALIZAÇÃO EM DESIGN GRÁFICO DEPARTAMENTO DE DESIGN E EXPRESSÃO GRÁFICA - DEG NATALIA BORBA DE CASTRO ELAS EM VISTA UMA EXPOSIÇÃO VIRTUAL SOBRE LUTA, MULHERES E ARQUITETURA. Porto Alegre 2020 3 ELAS EM VISTA NATALIA BORBA DE CASTRO ELAS EM VISTA UMA EXPOSIÇÃO VIRTUAL SOBRE LUTA, MULHERES E ARQUITETURA. Projeto apresentado ao curso de Especialização em Design Gráfico, da Universidade Federal do Rio Grande do Sul, como requisito parcial para conclusão da disciplina Trabalho Conclusão de Curso. Orientadora: Professora Dr. Maria do Carmo Curtis Porto Alegre 2020 4 ELAS EM VISTA O projeto ELAS EM VISTA: uma exposição virtual sobre luta, mulheres e arquitetura é dedicado a todas as mulheres cujo trabalho é invisibilizado pela sociedade. 5 ELAS EM VISTA Resumo Atualmente milhares de mulheres profissionais, em atividades, até então, executadas por homens, enfrentam uma batalha diária em busca do respeito e igualdade. Possuindo um direcionamento para a comunidade da arquitetura, esse trabalho trata de uma reflexão que reflete, a partir de exemplos específicos, as condições da mulher na arquitetura e em formações correlatas, frente às dificuldades produzidas pela herança de uma estrutura patriarcal e moralista manifestada nas hierarquias profissionais, cujos protagonistas são e sempre foram, historicamente, homens. Este projeto busca abrir um espaço de debate de gênero, racismo, feminismo e ativismo político na comunidade da arquitetura. A partir de uma extensa lista de profissionais pouco estudadas, e, portanto, pouco reconhecidas, foram selecionadas seis mulheres bem-sucedidas na prática projetual. Na intenção de contribuir ao reconhecimento de suas carreiras, ELAS EM VISTA é uma exposição virtual que aposta no caráter de “heroínas solitárias”, explorando a dimensão de gênero. -
Elizabeth Bishop's Brazil
Elizabeth Bishop’s Brazil: An Attraction in Difference TOM WINTERBOTTOM Stanford University Abstract: The correspondence of Elizabeth Bishop during her years in Brazil with fellow poet Robert Lowell shed light not only on her personal impressions and experience there but also on the broader atmosphere of Brazil in the 1950s and 60s. The abundant letters show an intimacy that Bishop was willing to explore in personal correspondence that was not readily forthcoming in her published poetry. The present essay analyzes that correspondence alongside the few poems Bishop wrote in or about Brazil to understand her pursuit of belonging and happiness that found an unlikely home—and a tragic end—in and around Rio de Janeiro for almost twenty years. Bishop’s trajectory from love to loss and happiness to tragedy intimately interacts, this essay argues, with changes in mid- century Brazil, from the national development pursued by Vargas and Kubitschek, including the building of Brasília, to the fallout from the 1964 military coup and beyond. Keywords: Poetry, travel, Rio de Janeiro, letters, belonging Elizabeth Bishop’s death in October 1979 marked the end of an itinerant adult life that struggled with belonging and meaning, punctuated by tragedy and depression. It was in an unexpected place, Brazil, that the poet found her home and finally, at least for a time, some degree of happiness. The difference of what she found there—an escape from the restrictions and expectations of the United States—seemed freeing, allowing her an unforeseen corporeal and creative liberation. Brazil, perhaps, is well known for this; Bishop, on the other hand, was not. -
UNVEILING EKPHRASIS on the SCREEN Desvendando Écfrase Na
UNVEILING EKPHRASIS ON THE SCREEN Desvendando écfrase na tela Dominika Bugno-Narecka1 Miriam de Paiva Vieira2 Abstract: Both adaptation and ekphrasis are considered as transmedial tools by proposed models (Rajewsky, 2005; Elleström, 2010, 2014, 2021) for the study of (inter)medial transformation. The two processes share some common aspects concerning the transfer of medial properties, putting emphasis on the respective audiences’ recognition. The aim of this paper is to understand how the process of media transformation from novel to film takes meaningful ekphrastic excerpts and turns them into something narratively and materially different. In order to investigate the issue, the authors of the paper will illustrate the transfer of ekphrastic excerpts from novel to film in the movie Doktor Judym directed by Polish Włodzimierz Haupe (1975) and the film Reaching for the Moon (2013) directed by Brazilian Bruno Barreto, using the notions of adaptation by Hutcheon (2006), and ekphrasis by Clüver (2019), Bugno-Narecka (2017, 2019) and Vieira (2017, 2020). Keywords: Literature. Film. Ekphrasis. Adaptation. Intermediality. Resumo: Adaptação e écfrase são consideradas ferramentas midiáticas por modelos propostos (RAJEWSKY, 2005; ELLESTRÖM, 2010, 2014, 2021) para o estudo de transformação entre diferentes mídias. Os dois processos compartilham aspectos relativos à transferência de propriedades de mídias no diz respeito ao reconhecimento do leitor/audiência. O objetivo deste artigo é compreender como o processo de transformação entre mídias, no caso de romance para filme, se apropria de trechos ecfrásticos significativos e os transforma em uma nova narrativa materialmente diferente. Para tal, a partir das noções de adaptação, Hutcheon (2006), e écfrase, de Clüver (2019), Bugno-Narecka (2017, 2019) e Vieira (2017, 2020), a transferência de trechos ecfráticos do romance para o cinema será ilustrada pelos filmes Doktor Judym, dirigido pelo polonês Włodzimierz Haupe (1975), e Flores raras (2013), dirigido pelo brasileiro Bruno Barreto. -
The View from Key West: Toward a Global South Atlantic Lyric Marvin
The View From Key West: Toward a Global South Atlantic Lyric Marvin Alfred Campbell Lemoyne, Pennsylvania B.A., English, Vassar College, 2006 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of English Language and Literature University of Virginia July 2015 1 Acknowledgments I am immensely fortunate to have received endlessly generous training, support, and mentorship from a wonderful department with a vibrant intellectual community. The co- directors of my dissertation, Jahan Ramazani and Jennifer Wicke, have supported and believed in my work and me more than I can ever adequately thank them for, and it means the world to me. I am honored to have been their students at the University of Virginia, benefiting from their teaching, scholarship, critical acumen, and professional and personal support. Stephen Cushman has deeply influenced this project and my development as a scholar and teacher as well. Working with, and alongside, him has been a great and matchless gift—one of my most cherished memories was a course I took under his tutelage during my early years in the department and I continue to be inspired by his pedagogical example. Courses, conversation, and research collaboration with Michael Levenson throughout my years at UVa have been enormously beneficial as well, helping to inspire my enthusiasm for the profession. I am grateful to other faculty members—Elizabeth Fowler, Deborah McDowell, Anna Brickhouse, and Rita Felski—who have supported my work and with whom I have had fruitful conversations in its conception. The continued support and friendship of Don Foster—whose mentorship at Vassar College and beyond—has also meant a great deal to me, having far exceeded his obligations to me as my teacher. -
EB News Letter Draft 3
Vol 23 Summer 2017 THE ELIZABETH BISHOP SOCIETY OF NOVA SCOTIA NEWSLETTER Editorial For an organization, twenty-three years of continuous activity is an The EBSNS was formed in 1994 to accomplishment. The Elizabeth Bishop Society of Nova Scotia is now celebrate the life and work of the poet approaching a quarter century and it is still going strong. As heady as the Elizabeth Bishop. The society seeks Elizabeth Bishop Centenary (EB100) celebration was in 2011, and as proud through its various activities and as we are of the legacy projects completed in 2013, the EBSNS board has not projects, to promote the appreciation sat on its laurels. Almost immediately the board began to discuss what the and study of Elizabeth Bishop as a next project(s) would be. When the St. James Church Preservation Society offered the EBSNS space in the sanctuary for a permanent Elizabeth Bishop Nova Scotian writer. The EBSNS exhibit, the board readily accepted and work on an exhibit and small art publishes an annual newsletter and gallery commenced. We are excited to say that we will be unveiling the holds its AGM in Great Village in “Elizabeth Bishop’s Beginnings” exhibit and the “Echoes of Elizabeth June of each year. For more Bishop” gallery at our Annual General Meeting on 17 June 2017. You can information about EBSNS and about read more about this event in the pages of this newsletter and on the EBSNS membership, visit our website http:// blog: http://elizabethbishopcentenary.blogspot.ca/ and our Facebook page: https://www.facebook.com/EBSofNS. www. -
Stefan Zweig and Elizabeth Bishop
Vol. IX comparative cinema Fabio No. 16 2021 Camarneiro Tropical Purgatory: Brazil Through 75-92 the Lenses of Stefan Zweig and Elizabeth Bishop Writers Stefan Zweig and Elizabeth Bishop both lived in Brazil, although in very different circumstances. Their stories served as basis for two films: Maria Schrader’s Stefan Zweig: Farewell to Europe (Vor der Morgenröte, 2016), and Bruno Barreto’s Reaching for the Moon (Flores raras, 2013). This article aims to describe the differences between these two films, and how they can be connected to Brazilian authors such as Gilberto Freyre and Sérgio Buarque de Holanda, whose works attempt to understand Brazil’s social dynamics from the perspective of its violent colonial past. Furthermore, this article aims to question the connections between historical accuracy and political engagement, arguing that the general tone of a film narrative may sometimes be much more politically-oriented than the actual facts it portrays. Date submitted: 15/09/2020 Date accepted: 09/04/2021 Keywords FILM BIOPICS STEFAN ZWEIG ELIZABETH BISHOP GERMAN CINEMA MARIA SCHRADER BRAZILIAN CINEMA BRUNO BARRETO BRAZILIAN SOCIETY TERRESTRIAL PARADISE Fabio Camarneiro [email protected] orcid.org/0000-0002-1767-3610 Associate Professor at UFES (Federal University of Espírito Santo), Brazil. DOI: 10.31009/cc.2021.v9.i16.05 This article analyses two biopic Antoinette, 2006, for instance)” (Vidal films that portray writers: Stefan Zweig: 2013, 2−3). As discussed below, Farewell to Europe (Vor der Morgenröte, the myth of the “tropical paradise” 2016), by Maria Schrader, and Reaching reveals itself in both films, forcing the for the Moon (Flores raras, 2013), by characters to confront the distance Bruno Barreto.