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Examining the Dialogic Construction of Women In
“TAKE HER CLOTHES OFF AND BRING HER TO ME!”: EXAMINING THE DIALOGIC CONSTRUCTION OF WOMEN IN ROBERT ALTMAN’S FILMS A DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN THE GRADUATE SCHOOL OF THE TEXAS WOMAN’S UNIVERSITY DEPARTMENT OF ENGLISH, SPEECH, AND FOREIGN LANGUAGES COLLEGE OF ARTS AND SCIENCES BY CHARLENE SMITH GREEN B.A., M.A. DENTON, TEXAS DECEMBER 2017 Copyright © 2017 by Charlene Smith Green DEDICATION For my daughters, Christianne and Natalie Build your castles in the air, and then put foundations under them. ii ACKNOWLEDGEMENTS I would like to express deep and sincere gratitude to my advisor and director Dr. Lou Thompson for her support and encouragement throughout my academic journey, which began so many years ago. I am especially grateful for her thoughtful insight and tireless dedication to my research and writing about films, most especially her guidance with this project on the women in Robert Altman’s films. I would have never completed this project without her unwavering commitment to my research and writing. I would also like to thank my committee members Dr. Genevieve West and Dr. Brian Fehler for providing invaluable comments and feedback on my work. I am especially grateful for the tough questions they asked because those questions made me dig deeper and think harder when I made revisions. Their comments and questions have also led me toward ideas for future research and writing, and that is a priceless contribution indeed. Finally, there are two additional professors I would like to thank for their contributions to my research, writing, and academic growth. -
LE MONDE/PAGES<UNE>
www.lemonde.fr 57e ANNÉE – Nº 17623 – 7,90 F - 1,20 EURO FRANCE MÉTROPOLITAINE -- DIMANCHE 23 - LUNDI 24 SEPTEMBRE 2001 FONDATEUR : HUBERT BEUVE-MÉRY – DIRECTEUR : JEAN-MARIE COLOMBANI Toulouse : catastrophe aux portes de la ville b L’explosion d’une usine pétrochimique a fait au moins 25 morts et 658 blessés hospitalisés b Construite en 1924, elle avait été englobée par l’urbanisation b Ce drame provoque une polémique sur la présence de sites industriels dangereux dans des agglomérations LE BILAN de la catastrophe qui mètres du centre-ville, dans les s’est produite, vendredi 21 septem- quartiers sud-ouest. Cette explo- bre, dans l’enceinte de l’usine Azo- sion aurait été provoquée par te de France (AZF) à Toulouse est l’échauffement soudain et encore extrêmement lourd. Samedi inexpliqué d’une cuve de nitrate matin, alors que les opérations de d’ammonium, produit considéré C. BENNETT/AP secours et de déblaiement se comme trop explosif pour être poursuivaient dans les bâtiments commercialisé. complètement dévastés de ce com- Alors que, dès après l’explosion, Le krach lent des Bourses plexe pétrochimique, la préfecture le plan rouge était déclenché et de Haute-Garonne communiquait que successivement le premier les chiffres suivants, encore provi- ministre et le président de la Répu- New York perd 14 % en cinq jours, Paris 50 % en un an soires, donnant la mesure du sinis- blique se rendaient à Toulouse tre : 25 morts, 15 à 20 disparus, pour signifier à une population for- LA RÉOUVERTURE de Wall bénéficient d’un fort rebond dans 658 blessés hospitalisés, dont 50 tement traumatisée leur soutien, Street, six jours après les attentats les deux années qui suivent les cri- dans un état grave, notamment une enquête a été ouverte par le tragiques de New York et de Wash- ses, mais l’incertude diplomatique des grands brûlés, et 1 500 person- procureur de la République afin de ington, s’est soldée par une baisse et militaire doit être levée au préa- nes plus légèrement touchées. -
An Arm-Twister in the Oval Office - the New York Times
An Arm-Twister in the Oval Office - The New York Times September 25, 2013 THEATER REVIEW An Arm-Twister in the Oval Office By CHARLES ISHERWOOD CAMBRIDGE, Mass. — The crowds excitedly filing in to the American Repertory Theater here are not, I am willing to bet, panting at the prospect of hearing words like “filibuster” and “cloture” tossed into their laps. Nor are they eager to watch politicians fulminating and pontificating in front of microphones. For such diversions, after all, we have cable news, and with the government slouching toward yet another partisan smackdown, it’s showtime 24/7. No, the reason “All the Way,” a new historical drama by Robert Schenkkan (“The Kentucky Cycle”), has sold out its entire run has everything to do with the man who spends much of the evening in an oval-shaped space at center stage. Bryan Cranston, who racked up three Emmys as the chemistry teacher turned drug kingpin in the obsessively adored cable series “Breaking Bad,” stars as President Lyndon Baines Johnson, fighting to assert himself as a figure of authority, both moral and political, in the tumultuous months after the assassination of President John F. Kennedy. To immediately address the question of Mr. Cranston’s own authority: yes, onstage he cuts a vigorous, imposing figure as L.B.J., employing a drawl as wide as the Rio Grande as the new president backslaps and backstabs his way through the rough waters of a Washington that, in its deep divisions, bears a depressing resemblance to our own. Mr. Cranston’s Johnson glitters with an almost salacious ruthlessness when he senses a chance to do a little arm-twisting to lock down another vote for a bill he wants passed.