Norman Mailer
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Jazzlondonlive July 2019
01/07/2019 PIZZAEXPRESS LIVE, HOLBORN 20:30 02/07/2019 TOULOUSE LAUTREC, KENNINGTON 19:30 02/07/2019 VORTEX JAZZ CLUB, DALSTON 20:30 £10.00 JAZZLONDONLIVE JULY 2019 £17.50 FREE ENTRY THREEBOP Ella Hohnen-Ford (vcls), Rosina Bullen (vcls) , THE VINCE DUNN ORCHESTRA FAYE PATTON PIANO BAR & RESTAURANT Faye Patton (Vocals, Piano & Guitar) will be Luca Manning (vcls) , David Swan (pno) , Seth 01/07/2019 ARCHDUKE, WATERLOO 19:30 FREE Tackaberry (bs) , Boz Martin-Jones (drs) 01/07/2019 THE OXFORD TAVERN, KENTISH TOWN showcasing a range of originals from her catalogue, some standards, and some new JOE BICKERSTAFF SOLO PIANO 20:30 £8/£5 MUSICIANS compositions. Expect soaring, bluesy vocals, 02/07/2019 RONNIE SCOTT'S, SOHO 23:30 £10 blistering piano hooks, glittering guitar riffs and 01/07/2019 RONNIE SCOTT'S, SOHO 19:30 £35 - £50 MATT HOME QUARTET ROELLA OLORO QUINTET'S LATE SHOW DEBUT Matt Home(drums), Steve Fishwick (trumpet), smooth vibes. JOE STILGOE AND HIS MIGHTY BIG BAND MAIN Alex Bryson (piano), Jeremy Brown (double PRESENTED BY ALEX GARNETT LATE LATE SHOW bass) 02/07/2019 BULL'S HEAD, BARNES 20:00 £10 ADV & Roella Oloro - Piano, Sylvan Biscoe - Tenor Sax, SHOW Joseph Oti - Trumpet, Isobella Burnham - Bass, Tom Richards -Saxophone, Mike Lovatt -Trumpet, £12 ON THE DOOR Wilf Cameron Marples - Drums Martin Shaw -Trumpet, Billy Adamson -Guitar, 01/07/2019 TROUBADOUR, EARL’S COURT 20:30 FREE DANA ALI BAND BLUES & SOUL Tom Farmer -Bass, Callum Au -Trombone, Pete EVENT Dana Ali, vcls, Dave Hewitt, bass, Dave Punshon, North -Trombone, Andy Wood -
Autobiographical Concerns in Norman Mailer`S the Armies of the Night Kader YILMAZ*
Hacettepe Üniversitesi Edebiyat Fakültesi Dergisi 2005 / Cilt: 22 Sayõ: 1 / ss. 249-258 Norman Mailer’s March: Autobiographical Concerns in Norman Mailer`s The Armies of The Night Kader YILMAZ* Abstract: As a work of literary nonfiction, Norman Mailer’s The Armies of The Night has often been studied in the context of its fictional reconstruction of the anti-war demonstration of 1967. Although some literary critics have also acknowledged the author’s highly subjective depiction of the march, this aspect of The Armies of The Night has received comparatively little critical consideration. Yet, the autobiographical narrative of this book deserves particular attention because it performs an important function in that it enables its author to personalize the march and to analyze the event from the perspective of a witness. This paper argues that Mailer aims to interpret and speculate on the significance of the march by offering his personal experiences and reactions to the events as emblematic of the experiences of the larger society protesting the Vietnam War. Key words: Literary nonfiction, Norman Mailer, autobiographical narrative, 1960s Özet: Olgu yönelimli roman türü olarak, Norman Mailer’in The Armies of The Night genellikle, 1967 yõlõnda düzenlenen savaş karşõtõ gösteriyi kurgusal bir yapõ ile yeniden anlatmasõ bağlamõnda incelenmiştir. Eleştirmenler, bu protesto yürüyüşünün kurgulanõşõndaki öznel yaklaşõma dikkat çekmiş olsalar da, eserin bu yönünü irdeleyen çalõşmalar azdõr. Oysa, bu eserdeki özyaşamsal söylem yazarõn gösteriyi öznelleştirmesine ve olayõ bir tanõk gözüyle yorumlamasõna olanak sağlamasõ açõsõndan önem taşõmaktadõr. Bu makale Mailer’in, kişisel deneyimlerinin ve olaylara tepkisinin Vietnam savaşõnõ protesto eden toplumun deneyimlerinin bir yansõmasõ olduğunu ve bu yolla toplumsal bir olayõ aydõnlatmayõ ve yorumlamayõ hedeflediğini savunmaktadõr. -
The Waterboys a Rock in the Weary Land Mp3, Flac, Wma
The Waterboys A Rock In The Weary Land mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock / Pop / Folk, World, & Country Album: A Rock In The Weary Land Country: UK Released: 2000 Style: Folk Rock, Pop Rock MP3 version RAR size: 1566 mb FLAC version RAR size: 1152 mb WMA version RAR size: 1573 mb Rating: 4.3 Votes: 575 Other Formats: AC3 MP2 TTA ADX DTS MP4 AHX Tracklist Hide Credits 1 Let It Happen 6:19 My Love Is My Rock In The Weary Land 2 Choir – London Community Gospel ChoirOrgan [Mellotron] – ThighpaulsandraPercussion 8:15 [Tambourine] – Dave Ruffy* 3 It's All Gone 2:16 Is She Conscious? 4 4:42 Bass – Mark SmithDrums [Ocean Drum] – Jody Linscott We Are Jonah 5 Backing Vocals – Claire Nicholson, Robin Scott Bass – Mark SmithMandolin [Electric Slide] 5:07 – Anthony ThistlethwaitePiano – Richard Naiff 6 Malediction 4:16 7 Dumbing Down The World 3:07 His Word Is Not His Bond 8 3:59 Backing Vocals – Robin Scott Bass – Cameron MillerDrum Programming – Rowan Stigner Night Falls On London - Theme 9 0:48 Drum Programming – Dave Ruffy*, Rowan Stigner The Charlatan 10 6:53 Drums – Paul Beavis The Wind In The Wires 11 5:33 Drums – Chris TaggartPiano, Organ – Richard Naiff Crown 12 Drums – Kevin WilkinsonMandolin [Electric Slide] – Anthony ThistlethwaiteOrgan 7:04 [Mellotron] – ThighpaulsandraSaxophone – Gilad Atzmon Notes Track 1 is wrongly listed on the cover and is actually the song let it happen. All other instruments by Mike Scott. Other versions Category Artist Title (Format) Label Category Country Year A Rock In The Weary UK & 74321 -
A Transcultural Perspective on the Casting of the Rose Tattoo
RSA JOU R N A L 25/2014 GIULIANA MUS C IO A Transcultural Perspective on the Casting of The Rose Tattoo A transcultural perspective on the film The Rose Tattoo (Daniel Mann, 1955), written by Tennessee Williams, is motivated by its setting in an Italian-American community (specifically Sicilian) in Louisiana, and by its cast, which includes relevant Italian participation. A re-examination of its production and textuality illuminates not only Williams’ work but also the cultural interactions between Italy and the U.S. On the background, the popularity and critical appreciation of neorealist cinema.1 The production of the film The Rose Tattoo has a complicated history, which is worth recalling, in order to capture its peculiar transcultural implications in Williams’ own work, moving from some biographical elements. In the late 1940s Tennessee Williams was often traveling in Italy, and visited Sicily, invited by Luchino Visconti (who had directed The Glass Managerie in Rome, in 1946) for the shooting of La terra trema (1948), where he went with his partner Frank Merlo, an occasional actor of Sicilian origins (Williams, Notebooks 472). Thus his Italian experiences involved both his professional life, putting him in touch with the lively world of Italian postwar theater and film, and his affections, with new encounters and new friends. In the early 1950s Williams wrote The Rose Tattoo as a play for Anna Magnani, protagonist of the neorealist masterpiece Rome Open City (Roberto Rossellini, 1945). However, the Italian actress was not yet comfortable with acting in English and therefore the American stage version (1951) starred Maureen Stapleton instead and Method actor Eli Wallach. -
NO TIME to RETREAT First Annual Synthesis Report on Progress Since the World Humanitarian Summit
NO TIME TO RETREAT First annual synthesis report on progress since the World Humanitarian Summit OCHA AGENDA FOR HUMANITY 5 CORE RESPONSIBILITIES 24 TRANSFORMATIONS Acknowledgements: Report drafting team: Kelly David, Breanna Ridsdel, Kathryn Yarlett, Janet Puhalovic, Christopher Gerlach Copy editor: Matthew Easton Design and layout: Karen Kelleher Carneiro Thanks to: Anja Baehncke, Pascal Bongard, Brian Lander, Hugh MacLeman, Alice Obrecht, Rachel Scott, Sudhanshu Singh, Joan Timoney, Hasan Ulusoy, Eugenia Zorbas Cover photo: A girl collects water in Dikwa, Nigeria, where hundreds have fled to escape Boko Haram violence and famine-like conditions. OCHA/Yasmina Guerda © OCHA November 2017 CONTENTS EXECUTIVE SUMMARY 02 ABOUT THIS REPORT 17 CORE RESPONSIBILITY ONE: PREVENT AND END CONFLICTS 20 CORE RESPONSIBILITY TWO: RESPECT THE RULES OF WAR 26 2A Protection of civilians and civilian objects 28 2B Ensuring delivery of humanitarian and medical assistance 30 2C Speak out on violations 32 2D Improve compliance and accountability 33 2E Stand up for rules of war 36 CORE RESPONSIBILITY THREE: LEAVE NO ONE BEHIND 38 3A Address displacement 40 3B Address migration 44 3C End Statelessness 46 3D Empower women and girls 47 3E Ensure education for all in crisis 50 3F Enable adolescents and young people to be agents of positive transformation 52 3G Include the most vulnerable 54 CORE RESPONSIBILITY FOUR: WORK DIFFERENTLY TO END NEED 57 4A Reinforce, do not replace, national and local systems 59 4B Anticipate crises 64 4C Transcend the humanitarian-development -
La Méthode De L'actors Studio, À Paraître
La Méthode de l’Actors Studio : Genèse, Pratique et Phénoménologie Ivan MAGRIN-CHAGNOLLEAU, CNRS Aix Marseille Univ, CNRS, PRISM, Marseille, France 1. Introduction 1.1. Qui Suis-Je ? Je voudrais commencer par donner quelques éléments biographiques puisqu’ils sont en lien étroit avec le sujet de cet article. Je me présente généralement comme artiste chercheur. Cela signifie que j’ai une activité artistique ainsi qu’une activité de recherche. Sur le plan artistique, je travaille régulièrement comme acteur, metteur en scène et auteur pour le théâtre et le cinéma. J’écris aussi de la poésie, je fais de la photographie, de la musique, comme interprète et compositeur, et de la performance. J’enseigne également le théâtre, le cinéma, la musique, la photographie, l’écriture, l’esthétique, et je coache aussi des artistes. En recherche, je travaille dans le paradigme de la création recherche, c’est-à-dire que je crois à une recherche en art fondée sur une pratique, ce qui est pour moi la manière la plus riche de conduire ma recherche, dans la mesure où je suis aussi artiste. C’est pour cela que je m’intéresse particulièrement à la dimension phénoménologique de la création, c’est-à-dire à la création comme expérience vécue. Je considère mon travail artistique comme faisant partie intégrale de mon travail de recherche. 1.2. Mon Expertise sur la Méthode de l’Actors Studio De 2004 à 2007, je me suis formé de manière intensive comme acteur et comme metteur en scène à l’Actors Studio à New York. J’ai donc appris la méthode de l’Actors Studio de professeurs qui avaient été eux-mêmes élèves de Lee Strasberg, le fondateur de la méthode1 2. -
Contemporaries Art Gallery Records
Contemporaries Art Gallery Records LUCILE R. HORSLEY, OWNER-DIRECTOR New Mexico Museum of Art Library and Archives Extent : 3 linear feet Dates : 1962-1967 Language : English Related Materials Many of the artists named in this collection exhibited at this museum. For information about these exhibitions consult the museum's exhibition files and/or catalogs. The museum library also contains separate biographical files for the artists mentioned in this collection. Revised 04/07/2016 Contents Section I - Financial Records Section II - Artists and Visitors Log A. Licenses and Artists' Resumes B. Register of Visitors Section III - Scrapbooks Section IV - Artists and Correspondence Preliminary Comments Artists, Sculptors, and Photographers Section V - Exhibition Flyers Section VI - Gallery Correspondence and Interview A. Correspondence B. The Interview C. Miscellaneous Material Section VII - Photographs - Art and Artists Section VIII- Record Book of Lucile R. Horsley Contemporaries Gallery Page 2 Revised 04/07/2016 Preliminary Statement Lucile R. Horsley (herein LRH), an artist in her own right, organized and opened the Contemporaries Gallery (herein Gallery) in Santa Fe, New Mexico at 418 ½ College Street [now 414 Old Santa Fe Trail] on April 7, 1962. It was one of the first sites for contemporary art showings in the city. She operated it as a "semi-cooperative center" (her words) in which 25 of the finest and most vital painters, sculptors, and photographers of New Mexico could exhibit their work at the same time. By her own admission it was a "pioneering venture." Those who agreed to make monthly payments of LHR's established "fee" schedule were called "Participating Artists." The Gallery remained open for some two and one-half years. -
REN Playbill.Indd 1 6/4/14 2:44 PM Contents
REN_playbill.indd 1 6/4/14 2:44 PM Contents ANCIENT EVENINGS.........................2 MAP..........................................................4 REN..........................................................7 THE SON ALSO Rises.....................8 Neville Wakefield LIBRETTO...........................................16 NOTES ON THE MUSIC....................21 Zach Baron PROFILES............................................24 CAST AND CREW..............................26 WHO’S WHO IN THE CAST.........28 ADDITIONAL INFORMATION......31 “...Ren, one’s Secret Name, who left at once, even as a falling star might drop through the sky. That is as it must be, I concluded. For the Ren did not belong to the man, but came out of the Celestial Waters to enter an infant in the hour of his birth and might not stir again until it was time to go back. While the Secret Name must have some effect on one’s character, it was certainly the most remote of our seven lights.” Norman Mailer Ancient Evenings The use of any recording device, either audio or video, and the taking of photographs, either with or without flash, is strictly prohibited. Please turn cellular phones off, as it interferes with audio recording equipment and telecommunications. Thank you. REN_playbill.indd 2-1 6/4/14 2:44 PM Ancient Evenings Ancient Evenings EN is the first act of “Ancient Evenings,” a collaborative project by Matthew expanses of salt beds beneath Michigan. KHU is the only act that will feature all RBarney and Jonathan Bepler that is inspired by American author Norman three automobiles. BA, the final live act, will take place in New York City as the Mailer’s 1983 novel Ancient Evenings, set in ancient Egypt. A nontraditional opera, automobile is further transformed into the 2001 Ford Crown Victoria. -
On Norman Mailer
LITERATURE 3 Scavenger of eternal truths Norman Mailer in the 1960s THOMAS MEANEY Norman Mailer COLLECTED ESSAYS OF THE 1960S 500pp. Library of America. £29.99 (US $35). 978 1 59853 559 4 FOUR BOOKS OF THE 1960S 950pp. Library of America. £39.99 (US $45). 978 1 59853 558 7 Edited by J. Michael Lennon I went to Wharton with Donald Trump. We were both from praetorian families in Queens – his more martial than mine – in the first line of defense on the crabgrass frontier. We went out one night together to a hotel behind Rittenhouse Square. His date was a wised-up girl from Phila- delphia society who dreamed of becoming a stripper; mine was a retreating waitress, with a hyena body that gave off a whiff of the inquisi- tive. After the drinks – Don drank seltzer – we took them to a room we’d booked upstairs. My date gashed my face with her high-heel after I tried to shuffle her into one of the bedrooms. There was panting from Don’s quarters, the sound of a teetering vase, then mechanical chanting, until a final flesh-on-flesh “Whaa- aap!” A volley of sweet-talk followed. “If you want to be a dancer, there’s nobody who’s going New York City, 1968 to stop you, not even your father,” Don whis- pered. “I know some of the best dancers in this in a Trump Air commercial, which left him of Walt Whitman and Leon Trotsky, your the haste to give pleasure. It was cool in mood, town. -
Buck Henry, Who Helped Create ʻget Smartʼ and Adapt ʻthe Graduate,ʼ Dies at 89 an Unassuming Screenwriter and Actor, Mr
1/11/2020 Buck Henry, Who Helped Create ‘Get Smart’ and Adapt ‘The Graduate,’ Dies at 89 - The New York Times https://nyti.ms/2N7atsQ Buck Henry, Who Helped Create ʻGet Smartʼ and Adapt ʻThe Graduate,ʼ Dies at 89 An unassuming screenwriter and actor, Mr. Henry thought up quirky characters with Mel Brooks and inhabited many more on “Saturday Night Live.” By Bruce Weber Published Jan. 9, 2020 Updated Jan. 10, 2020 Buck Henry, a writer and actor who exerted an often overlooked but potent influence on television and movie comedy — creating the loopy prime-time spy spoof “Get Smart” with Mel Brooks, writing the script for Mike Nichols’s landmark social satire “The Graduate” and teaming up with John Belushi in the famous samurai sketches on “Saturday Night Live” — died on Wednesday in Los Angeles. He was 89. His wife, Irene Ramp, said his death, at Cedars-Sinai Medical Center, was caused by a heart attack. John Belushi, left, and Mr. Henry in the 1978 “Saturday Night Live” sketch “Samurai Optometrist.” Fred Hermansky/NBCUniversal via Getty Images As a personality and a performer, Mr. Henry had a mild and unassuming aspect that was usually in contrast with the pungently satirical or broadly slapstick material he appeared in — and often wrote. Others in the room always seemed to make more noise. https://www.nytimes.com/2020/01/09/movies/buck-henry-dead.html 1/6 1/11/2020 Buck Henry, Who Helped Create ‘Get Smart’ and Adapt ‘The Graduate,’ Dies at 89 - The New York Times Indeed, for almost 50 years he was a Zelig-like figure in American comedy, a ubiquitous if underrecognized presence not only in grand successes but also in grand failures. -
Erysichthon Goes to Town
Erysichthon Goes to Town James Lasdun’s Modern American Re-telling of Ovid Pippa J. Ström A thesis submitted to Victoria University of Wellington in fulfilment of the requirements for the degree of Master of Arts in Classical Studies Victoria University of Wellington 2010 ERYSICHTHON GOES TO TOWN by Pippa J. Ström ©2010 ABSTRACT The Erysichthon of Ovid’s Metamorphoses is given, in James Lasdun’s re-telling of the story, a repeat performance of chopping down a sacred tree, receiving the punishment of insatiable hunger, selling his daughter, and eating himself. Transgressive greed, impiety, and environmental destruction are elements appearing already amongst the Greek sources of this ancient myth, but Lasdun adds new weight to the environmental issues he brings out of the story, turning Erysichthon into a corrupt property developer. The modern American setting of “Erisychthon” lets the poem’s themes roam a long distance down the roads of self- improvement, consumption, and future-centredness, which contrast with Greek ideas about moderation, and perfection being located in the past. These themes lead us to the eternally unfulfilled American Dream. Backing up our ideas with other sources from or about America, we discover how well the Erysichthon myth fits some of the prevailing approaches to living in America, which seem to have stemmed from the idea that making the journey there would lead to a better life. We encounter not only the relationship between Ovid and Lasdun’s versions of the story, but between the earth and its human inhabitants, and find that some attitudes can be traced back a long way. -
International Spy Museum
International Spy Museum Searchable Master Script, includes all sections and areas Area Location, ID, Description Labels, captions, and other explanatory text Area 1 – Museum Lobby M1.0.0.0 ΚΑΤΆΣΚΟΠΟΣ SPY SPION SPIJUN İSPİYON SZPIEG SPIA SPION ESPION ESPÍA ШПИОН Language of Espionage, printed on SCHPION MAJASUSI windows around entrance doors P1.1.0.0 Visitor Mission Statement For Your Eyes Only For Your Eyes Only Entry beyond this point is on a need-to-know basis. Who needs to know? All who would understand the world. All who would glimpse the unseen hands that touch our lives. You will learn the secrets of tradecraft – the tools and techniques that influence battles and sway governments. You will uncover extraordinary stories hidden behind the headlines. You will meet men and women living by their wits, lurking in the shadows of world affairs. More important, however, are the people you will not meet. The most successful spies are the unknown spies who remain undetected. Our task is to judge their craft, not their politics – their skill, not their loyalty. Our mission is to understand these daring professionals and their fallen comrades, to recognize their ingenuity and imagination. Our goal is to see past their maze of mirrors and deception to understand their world of intrigue. Intelligence facts written on glass How old is spying? First record of spying: 1800 BC, clay tablet from Hammurabi regarding his spies. panel on left side of lobby First manual on spy tactics written: Over 2,000 years ago, Sun Tzu’s The Art of War. 6 video screens behind glass panel with facts and images.