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Film After Authority: the Transition to Democracy and the End of Politics Kalling Heck University of Wisconsin-Milwaukee
University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations May 2017 Film After Authority: the Transition to Democracy and the End of Politics Kalling Heck University of Wisconsin-Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the Film and Media Studies Commons Recommended Citation Heck, Kalling, "Film After Authority: the Transition to Democracy and the End of Politics" (2017). Theses and Dissertations. 1484. https://dc.uwm.edu/etd/1484 This Dissertation is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. FILM AFTER AUTHORITY THE TRANSITION TO DEMOCRACY AND THE END OF POLITICS by Kalling Heck A Dissertation SubmitteD in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in English at The University of Wisconsin-Milwaukee May 2017 ABSTRACT FILM AFTER AUTHORITY THE TRANSITION TO DEMOCRACY AND THE END OF POLITICS by Kalling Heck The University of Wisconsin-Milwaukee, 2017 Under the Supervision of Professor Patrice Petro A comparison of films maDe after the transition from authoritarianism or totalitarianism to Democracy, this Dissertation aDDresses the ways that cinema can Digest anD extenD moments of political transition. By comparing films from four Different nations—the Italian Germany Year Zero, Hungarian Sátántangó, South Korean Woman on the Beach, anD American Medium Cool—in relation to iDeas Drawn from critical anD political theory, this project examines how anD why these wilDly Diverse films turn to ambiguity as their primary means to Disrupt the ravages of unchecked authority. -
The Influence of Kitchen Sink Drama in John Osborne's
IOSR Journal Of Humanities And Social Science (IOSR-JHSS) Volume 23, Issue 9, Ver. 7 (September. 2018) 77-80 e-ISSN: 2279-0837, p-ISSN: 2279-0845. www.iosrjournals.org The Influence of Kitchen Sink Drama In John Osborne’s “ Look Back In Anger” Sadaf Zaman Lecturer University of Bisha Kingdom of Saudi Arabia Corresponding Author: Sadaf Zaman ----------------------------------------------------------------------------------------------------------------------------- ---------- Date of Submission:16-09-2018 Date of acceptance: 01-10-2018 ----------------------------------------------------------------------------------------------------------------------- ---------------- John Osborne was born in London, England in 1929 to Thomas Osborne, an advertisement writer, and Nellie Beatrice, a working class barmaid. His father died in 1941. Osborne used the proceeds from a life insurance settlement to send himself to Belmont College, a private boarding school. Osborne was expelled after only a few years for attacking the headmaster. He received a certificate of completion for his upper school work, but never attended a college or university. After returning home, Osborne worked several odd jobs before he found a niche in the theater. He began working with Anthony Creighton's provincial touring company where he was a stage hand, actor, and writer. Osborne co-wrote two plays -- The Devil Inside Him and Personal Enemy -- before writing and submittingLook Back in Anger for production. The play, written in a short period of only a few weeks, was summarily rejected by the agents and production companies to whom Osborne first submitted the play. It was eventually picked up by George Devine for production with his failing Royal Court Theater. Both Osborne and the Royal Court Theater were struggling to survive financially and both saw the production of Look Back in Anger as a risk. -
Elizabeth Bowen, Shaking the Cracked Kaleidoscope.Pdf
Research Space Conference paper Elizabeth Bowen: Shaking the cracked kaleidoscope. Futurism and collage in Elizabeth Bowen's To the North Hirst, D. DIANA HIRST SHAKING THE CRACKED KALIEDOSCOPE: FUTURISM AND COLLAGE IN ELIZABETH BOWEN’S TO THE NORTH Paper given at ‘Elizabeth Bowen : A Re-Evaluation’, University of Bedfordshire, 6 May 2017 In a conversation between Elizabeth Bowen and Jocelyn Brooke, recorded for the BBC in1950, Brooke describes reservations he has about her recently published novel The Heat of the Day, and how he feels that it doesn’t really hang together.1 Bowen explains what she had been attempting: I wanted to show people in extremity, working on one another’s characters and fates all the more violently because they worked by chance. I wanted the convulsive shaking of a kaleidoscope, a kaleidoscope also in which the inside reflector was cracked.2 In this paper I will argue that Bowen is attempting something similar nearly twenty years earlier in her fourth novel To the North.3 In their conversation, Brooke and Bowen also discuss how important the quality of light is in both their work, and how Bowen had originally wanted to be a painter. Several critics, as well as Brooke, identify a visual quality in her writing, and Bowen herself affirms this several occasions. Thus I will also argue that it is possible to identify some techniques of the visual artist in her work in this 1932 novel. Building up to the Second World War, the thirties was a decade of unease, and unease pervades the novel. Perhaps unsurprisingly therefore, the visual art genres or movements that are most relevant to To the North are those that are fragmented: Cubism, particularly Futurism, and their opposite: making something from fragments (collage, a jigsaw puzzle or a mosaic). -
Notes Towards an Autobiography Patrick White-- Writing, Politics And
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Revistes Catalanes amb Accés Obert Coolabah, No.9, 2012, ISSN 1988-5946, Observatori: Centre d’Estudis Australians, Australian Studies Centre, Universitat de Barcelona Notes Towards an Autobiography 1 Patrick White-- Writing, Politics and the Australia-Fiji Experience Satendra Nandan Copyright © Satendra Nandan 2012 This text may be archived and redistributed both in electronic form and in hard copy, provided that the author and journal are properly cited and no fee is charged FOR BRUCE BENNETT, friend and fellow traveller I’m grateful to the NLA, so full of wonders and treasures, for generously awarding me this fellowship. For the last three months, I’ve been able to read and research, write and reflect, and meet a variety of scholars, staff and friends, with the feeling that how one’s life intersects with so many other lives: that, I think, is one’s real autobiography . Happy Valley , Patrick White’s first published novel in 1939, has that as a theme and its epigraph is from Mahatma Gandhi. But more on these men later. In March this year Jyoti and I returned from Fiji after six eventful years. We’d gone there in February 2006, from the ANU and the University of Canberra, to help establish the first University of Fiji. Of course, there was USP, established in 1968, which I joined as one of the first local lecturers in 1969 and resigned to take up a ministry in the Bavadra cabinet in 1987: I resigned on Monday; the Colonel staged his coup on Thursday. -
La Voix Humaine: a Technology Time Warp
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2016 La Voix humaine: A Technology Time Warp Whitney Myers University of Kentucky, [email protected] Digital Object Identifier: http://dx.doi.org/10.13023/ETD.2016.332 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Myers, Whitney, "La Voix humaine: A Technology Time Warp" (2016). Theses and Dissertations--Music. 70. https://uknowledge.uky.edu/music_etds/70 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies. -
Photography and Cinema
Photography and Cinema David Campany Photography and Cinema EXPOSURES is a series of books on photography designed to explore the rich history of the medium from thematic perspectives. Each title presents a striking collection of approximately80 images and an engaging, accessible text that offers intriguing insights into a specific theme or subject. Series editors: Mark Haworth-Booth and Peter Hamilton Also published Photography and Australia Helen Ennis Photography and Spirit John Harvey Photography and Cinema David Campany reaktion books For Polly Published by Reaktion Books Ltd 33 Great Sutton Street London ec1v 0dx www.reaktionbooks.co.uk First published 2008 Copyright © David Campany 2008 All rights reserved No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publishers. Printed and bound in China by C&C Offset Printing Co., Ltd British Library Cataloguing in Publication Data Campany, David Photography and cinema. – (Exposures) 1. Photography – History 2. Motion pictures – History I. Title 770.9 isbn–13: 978 1 86189 351 2 Contents Introduction 7 one Stillness 22 two Paper Cinema 60 three Photography in Film 94 four Art and the Film Still 119 Afterword 146 References 148 Select Bibliography 154 Acknowledgements 156 Photo Acknowledgements 157 Index 158 ‘ . everything starts in the middle . ’ Graham Lee, 1967 Introduction Opening Movement On 11 June 1895 the French Congress of Photographic Societies (Congrès des sociétés photographiques de France) was gathered in Lyon. Photography had been in existence for about sixty years, but cinema was a new inven- tion. -
The Inventory of the Richard Roud Collection #1117
The Inventory of the Richard Roud Collection #1117 Howard Gotlieb Archival Research Center ROOD, RICHARD #1117 September 1989 - June 1997 Biography: Richard Roud ( 1929-1989), as director of both the New York and London Film Festivals, was responsible for both discovering and introducing to a wider audience many of the important directors of the latter half th of the 20 - century (many of whom he knew personally) including Bernardo Bertolucci, Robert Bresson, Luis Buiiuel, R.W. Fassbinder, Jean-Luc Godard, Werner Herzog, Terry Malick, Ermanno Ohni, Jacques Rivette and Martin Scorsese. He was an author of books on Jean-Marie Straub, Jean-Luc Godard, Max Ophuls, and Henri Langlois, as well as the editor of CINEMA: A CRITICAL DICTIONARY. In addition, Mr. Roud wrote extensive criticism on film, the theater and other visual arts for The Manchester Guardian and Sight and Sound and was an occasional contributor to many other publications. At his death he was working on an authorized biography of Fran9ois Truffaut and a book on New Wave film. Richard Roud was a Fulbright recipient and a Chevalier in the Legion of Honor. Scope and contents: The Roud Collection (9 Paige boxes, 2 Manuscript boxes and 3 Packages) consists primarily of book research, articles by RR and printed matter related to the New York Film Festival and prominent directors. Material on Jean-Luc Godard, Francois Truffaut and Henri Langlois is particularly extensive. Though considerably smaller, the Correspondence file contains personal letters from many important directors (see List ofNotable Correspondents). The Photographs file contains an eclectic group of movie stills. -
World Literature Reading List
WEST BLOOMFIELD HIGH SCHOOL ENGLISH DEPARTMENT Eleventh Grade Honors World Literature: Summer Reading Assignment 2019 Please complete the assignment during the summer. Assignment #1 Step A: Read Homegoing by Yaa Gyasi Winner of the PEN/ Hemingway Award Winner of the NBCC's John Leonard Award Shortlisted for the British Book Award - Debut of the Year A New York Times Notable Book A Washington Post Notable Book One of the Best Books of the Year: NPR, Time, Oprah.com, Harper’s Bazaar, San Francisco Chronicle, Mother Jones, Esquire, Elle, Paste, Entertainment Weekly, the Skimm, PopSugar, Minneapolis Star Tribune, BuzzFeed, The Guardian, Financial Times Ghana, eighteenth century: two half-sisters are born into different villages, each unaware of the other. One will marry an Englishman and lead a life of comfort in the palatial rooms of the Cape Coast Castle. The other will be captured in a raid on her village, imprisoned in the very same castle, and sold into slavery. Homegoing follows the parallel paths of these sisters and their descendants through eight generations: from the Gold Coast to the plantations of Mississippi, from the American Civil War to Jazz Age Harlem. Yaa Gyasi’s extraordinary novel illuminates slavery’s troubled legacy both for those who were taken and those who stayed— and shows how the memory of captivity has been inscribed on the soul of our nation. Assignment #2 Independent reading choice!!! This summer, I want you to choose a book (or more if you’d like to!) to read from which you will both find enjoyment and learn about another part of the world. -
Ian Wooldridge Director
Ian Wooldridge Director For details of Ian's freelance productions, and his international work in training and education go to www.ianwooldridge.com Agents Nicki Stoddart [email protected] +44 (0) 20 3214 0869 Credits Theatre Production Company Notes ARTISTIC DIRECTOR, ROYAL LYCEUM THEATRE COMPANY, EDINBURGH, 1984-1993 THE TAMING OF THE SHREW Royal Lyceum Theatre Shakespeare Company, Edinburgh MERLIN Royal Lyceum Theatre Tankred Dorst Company Edinburgh ROMEO AND JULIET Royal Lyceum Theatre Shakespeare Company Edinburgh THE CRUCIBLE Royal Lyceum Theatre Arthur Miller Company Edinburgh THE ODD COUPLE Royal Lyceum Theatre Neil Simon Company Edinburgh JUNO AND THE PAYCOCK Royal Lyceum Theatre Sean O'Casey Company Edinburgh OTHELLO Royal Lyceum Theatre Shakespeare Company Edinburgh United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] Production Company Notes THE HOUSE OF BERNARDA ALBA Royal Lyceum Theatre Federico Garcia Lorca Company Edinburgh HOBSON'S CHOICE Royal Lyceum Theatre Harold Brighouse Company Edinburgh DEATH OF A SALESMAN Royal Lyceum Theatre Arthur Miller Company Edinburgh THE GLASS MENAGERIE Royal Lyceum Theatre Tennessee Williams Company, Edinburgh ALICE IN WONDERLAND Royal Lyceum Theatre Adapted from the novel by Lewis Company, Edinburgh Carroll A MIDSUMMER NIGHT'S DREAM Royal Lyceum Theatre Shakespeare Company Edinburgh A STREETCAR NAMED DESIRE Royal Lyceum Theatre Tennessee Williams Company, Edinburgh THE NUTCRACKER SUITE Royal Lyceum -
Miłosz - Gombrowicz - Brzozowski
View metadata, citation and similar papers at core.ac.uk brought to you by CORE Title: Wobec Sienkiewicza : Miłosz - Gombrowicz - Brzozowski Author: Anna Szawerna-Dyrszka Szawerna-Dyrszka Anna. (2013). Wobec Sienkiewicza : Citation style: Miłosz - Gombrowicz - Brzozowski. W: E. Bartos, M. Tomczok (red.), "Literatura popularna. T. 1, Dyskursy wielorakie" (S. 137-148). Katowice : Wydawnictwo Uniwersytetu Śląskiego Anna Szawerna-Dyrszka Uniwersytet Śląski Wobec Sienkiewicza Miłosz – Gombrowicz – Brzozowski Bardzo proszę pamiętać, że ja byłem przeciw A. Słonimski Chronologicznie rzecz ujmując, zaczynam od końca, czyli od roku 1969, w którym Czesław Miłosz publikuje w paryskiej „Kulturze” szkic poświęcony Henrykowi Sienkiewiczowi1. Szkic miał być recenzją wy- danej w 1967 roku w Londynie książki zbiorowej Sienkiewicz żywy2. Okazał się jednak czymś więcej: Proszono mnie już dawno, żebym napisał recenzję z tej książki – pisze Miłosz. – Wzbraniałem się, bo kiedy zaczyna się mówić o Sien- kiewiczu, nie sposób nie poruszyć pewnych spraw zasadniczych. Natomiast sprawy zasadnicze warto poruszać, tylko jeżeli ma się nadzieję kogoś przekonać, co, zważywszy na obecny stan polskich 1 Cz. Miłosz: Sienkiewicz, Homer i Gnębon Puczymorda. „Kultura” 1969, nr 1–2. Przedruk w książce Prywatne obowiązki. Paryż 1972. Cytuję za wydaniem: Cz. Miłosz: Sienkiewicz, Homer i Gnębon Puczymorda. W: Idem: Prywatne obowiązki. Kraków 2001, s. 136–149. Dalej tytuł tego szkicu oznaczam skrótem SH. Po cytatach w nawiasach po- daję numery stron. Refleksję nad tym, „po co wielkim Sienkiewicz”, zawdzięczam Józefowi Olejnicza- kowi, który po wysłuchaniu mego referatu Sienkiewicz Miłosza, wygłoszonego w Wilnie podczas konferencji w stulecie urodzin poety, zauważył, że Sienkiewicz pojawia się jako istotny punkt odniesienia u wielu wybitnych twórców. Fragment artykułu do- tyczący Miłosza odsyła do tekstu Sienkiewicz Miłosza opublikowanego w mej książce Bliższe i dalsze okolice Miłosza. -
The Role of Translation in the Nobel Prize in Literature : a Case Study of Howard Goldblatt's Translations of Mo Yan's Works
Lingnan University Digital Commons @ Lingnan University Theses & Dissertations Department of Translation 3-9-2016 The role of translation in the Nobel Prize in literature : a case study of Howard Goldblatt's translations of Mo Yan's works Yau Wun YIM Follow this and additional works at: https://commons.ln.edu.hk/tran_etd Part of the Applied Linguistics Commons, and the Translation Studies Commons Recommended Citation Yim, Y. W. (2016). The role of translation in the Nobel Prize in literature: A case study of Howard Goldblatt's translations of Mo Yan's works (Master's thesis, Lingnan University, Hong Kong). Retrieved from http://commons.ln.edu.hk/tran_etd/16/ This Thesis is brought to you for free and open access by the Department of Translation at Digital Commons @ Lingnan University. It has been accepted for inclusion in Theses & Dissertations by an authorized administrator of Digital Commons @ Lingnan University. Terms of Use The copyright of this thesis is owned by its author. Any reproduction, adaptation, distribution or dissemination of this thesis without express authorization is strictly prohibited. All rights reserved. THE ROLE OF TRANSLATION IN THE NOBEL PRIZE IN LITERATURE: A CASE STUDY OF HOWARD GOLDBLATT’S TRANSLATIONS OF MO YAN’S WORKS YIM YAU WUN MPHIL LINGNAN UNIVERSITY 2016 THE ROLE OF TRANSLATION IN THE NOBEL PRIZE IN LITERATURE: A CASE STUDY OF HOWARD GOLDBLATT’S TRANSLATIONS OF MO YAN’S WORKS by YIM Yau Wun 嚴柔媛 A thesis submitted in partial fulfillment of the requirements for the Degree of Master of Philosophy in Translation LINGNAN UNIVERSITY 2016 ABSTRACT The Role of Translation in the Nobel Prize in Literature: A Case Study of Howard Goldblatt’s Translations of Mo Yan’s Works by YIM Yau Wun Master of Philosophy The purpose of this thesis is to explore the role of the translator and translation in the Nobel Prize in Literature through an illustration of the case of Howard Goldblatt’s translations of Mo Yan’s works. -
Durham E-Theses
Durham E-Theses Rethinking Binarism in Translation Studies A Case Study of Translating the Chinese Nobel Laureates of Literature XIAO, DI How to cite: XIAO, DI (2017) Rethinking Binarism in Translation Studies A Case Study of Translating the Chinese Nobel Laureates of Literature, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/12393/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 RETHINKING BINARISM IN TRANSLATION STUDIES A CASE STUDY OF TRANSLATING THE CHINESE NOBEL LAUREATES OF LITERATURE Submitted by Di Xiao School of Modern Languages and Cultures In partial fulfilment of the requirements For the Degree of Doctor of Philosophy Durham University 2017 DECLARATION The candidate confirms that the work is her own and that it has not been submitted, in whole or in part, in any previous application for a degree.