1,182 research outputs found
Carter, Dr. Harold, Chapel Speaker ITC MLK Fellows Program Side 1, Aretha Franklin Sings Side 2
No full textIn this recording, awards are presented, Aretha Franklin sings gospel songs with a choir, and Dr. Harold Carter delivers a sermon titled Demons, History, and Christ where he talks about the Black religious experience including the charismatic preaching tradition.The Atlanta University Center Robert W. Woodruff Library acknowledges the generous support of the National Endowment for Humanities - Humanities Collections and Reference Resources Implementation Project Grant in supporting the processing and digitization of a number of its major archival collections as part of the project: Spreading the Word: Expanding Access to African American Religious Archival Collections at the Atlanta University Center Robert W. Woodruff Library.</em
The scissors and the power : a look at Harold Pinter's the homecoming through pragmatic lenses
No full textThe article is an attempt at describing the functioning of language in dialogues of Harold Pinter’s plays. The author uses the concepts of sociopragmatics to analyze the utterances of the opening scene of the Homecoming as speech acts. The two characters of the scene, Lenny and Max, hold a seemingly trivial conversation, which turns out to be crucial for establishing the relationship between them and for constructing the framework of the action of the play. Detailed analysis of the conversational implicature of the utterances allows the author to highlight typical elements of “Pinteresque” manner of designing the dramatic dialogue, e.g., the changing dynamics of the conversational exchange, gradually increasing emotional tension between the characters, as well as the abundance of subtextual meanings of the dialogic utterances.Artykuł jest próbą opisu funkcjonowania języka w dialogach w sztukach Harolda Pintera. Autor artykułu stosuje socjopragmatykę jako narzędzie analityczne, które pozwala na omówienie dialogów z pierwszej sceny sztuki Powrót do domu w kategoriach aktów mowy. Dwie postacie występujące w omawianej scenie, Lenny i Max, prowadzą pozornie trywialną konwersację, która okazuje się kluczowa dla przedstawienia ich wzajemnej relacji, jak również zawiązania akcji dramatu. Szczegółowa analiza implikatury konwersacyjnej wypowiedzi Lenniego i Maxa pozwala doszukać się w omawianej scenie typowych elementów Pinterowskiej sztuki prowadzenia dialogu w dramacie, jak, na przykład, zmiennej dynamiki konwersacji, narastającego emocjonalnego napięcia pomiędzy bohaterami oraz bogactwa podtekstowych znaczeń obecnych w dialogach bohaterów
sj-pdf-1-asu-10.1177_00031348221084941 – Supplemental Material for Congenital Diaphragmatic Hernia Repair at the Bedside or Operating Theater
No full textSupplemental Material, sj-pdf-1-asu-10.1177_00031348221084941 for Congenital Diaphragmatic Hernia Repair at the Bedside or Operating Theater by Jan A. Niec, Meredith A. Achey, Marshall W. Wallace, Anuradha Patel, Shilin Zhao, L. Dupree Hatch, Emily A. Morris, Melissa E. Danko, John B. Pietsch, and Harold N. Lovvorn in The American Surgeon</p
Harold Pinter and the Performance of Power: Considerations of Affect in Select Plays, Screenplays and Films, Poetry and Political Speeches
Full text linkThis thesis looks at selections of Harold Pinter's work across multiple media: written dramatic texts, screenplays and poetry, activity in theatrical and film production and his political activism. It has been argued that Pinter's dramatic medium is exceeded by movements, intensities and
forces that operate on and circulate within the corporeal bodies of Pinter's 'audiences'. However, approaches to Pinter to date remain overly focused on representation and hermeneutics and tied to a decidedly idealist conception of being, perception and knowledge. I argue that in order to
appreciate the politics of Pinter's aesthetics, readings of Pinter's work need to move in a more decidedly materialist direction. To do so, I enlist the conceptual tools of Gilles Deleuze and felix Guattari, specifically 'affect'. In bringing affect theory to Pinter I illustrate how 'the direct, mutual involvement of language and extra-linguistic forces,1 must be taken into account at every
critical step, and that meaning need be construed as a material process, the expression of forces
acting upon each other. The diversity of Pinter's work is explored over six chapters with a view to its aesthetic disposition and function, how it enters into noteworthy relations with those who engage with it, and how it establishes conditions that are propitious for transitory but ultimately productive trans formative encounters. Proceeding as such necessitates appraisal of ethical and
political positions in relation to Pinter's expression without distinguishing politics from aesthetics - a trend common to intellectual enterprise. Rather, the three keywords in the title of this thesis - performance, power and affect - function as concepts to advance the argument for Pinter's aesthetics as a politics. In considering the aesthetics of Pinter's work in varied media, this thesis invites the reader to see the strategies by which Pinter intervenes in each area as interrelated and political
Cedric Dover, April 15, 1948
No full textPortrait of Cedric Dover. Written on recto: For Harold with every good wish, Cedric. Written on verso: The late Cedric Dover, Eurasian at one time on the faculty at Fisk University, and author of the famous book on Negro art, for which Harold Jackman furnished much of the material; Photograph by Carl Van Vechten; 101 Central Park West; Cannot be reproduced without permission; April 15, 1948
The city and landscapes beyond Harold Pinter's rooms
Full text linkPinter's dramas have been labelled as 'absurd', 'mysterious', 'enigmatic', 'taciturn'.
There has been a constant tendency to reduce the idea of the 'Pinteresque' to language
when Pinter is preoccupied with the tensions between reality and the world of the
imagination. He has, actually and accurately, used theatre as a 'critical act' to denote
the abstracted realities, and he has applied his language to embody his world-view - his
concerns in the contemporary capitalist world.
Pinter has journeyed from the room to the outside world, from the private to the public
social space, and has identified an inescapable sense of pessimism and alienation, and
investigated an alarming world of atrocities. There are cities and landscapes beyond
Pinter's rooms, cities peopled by wandering, displaced figures surveying the self-estranged city that is modern consciousness, and landscapes where his people retreat
into the private realms of memory and fantasy.
This thesis explores the virtual geographies beyond Pinter's rooms through the
vocabulary of some modernist theoreticians and social scientists, as there are significant
parallels between their analytical observations and the poetic perceptions of Pinter, a
practising artist, and the phantom images of his characters.
Pinter's plays and film adaptations tend to portray the city as a colonial present, and the
country as a mythological past. The 1970s' plays portray a community of isolation,
urban decay, dispossession and suffering, through the figure of the 'flâneur' - his
characters' subjective experiences, memories and fantasies in the metropolis. In these
memory plays, men and women have different mental landscapes and desires. To some
extent the city is both a male-constructed world and an image of the twentieth century;
in both senses it is anti-human and in decline.
In his 1980s mature plays, Pinter's lyrical interiors and serene landscapes are colonised
by the metropolis. Here Pinter investigates a universally oppressive space filled with
misery and social dislocation. The city destroys humanity in a decaying modem world.
These plays identify the global city as the locus of existential alienation and as the
centre of political power and oppression - a world of brute masculine power.
The last two plays, in this study explore other wastelands of human isolation and
suffering, and criticise the British suspicion of the 'intelligentsia'. Using scenes that are
ingrained in the contemporary audience's physical memory, Pinter makes the
distinction between being an active participant and being a witness, a 'spectator' in this
alarming world. And thus, he criticises the tradition of mockery of the artistic and the
intellectually curious in Britain, and urges a need for a 'politically curious', at politically questioning theatre-going society
Reading Harold Bloom - what for and how? : on canonicality of the critic
Full text linkW artykule analizie poddane zostają relacje pomiędzy koncepcją kanonu literackiego Harolda Blooma a statusem jego własnej twórczości krytycznej. Rożne tematy i style pisarstwa uprawianego przez autora Lęku przed wpływem zostały scharakteryzowane i ocenione pod kątem ich kanoniczności, rozumianej jako wartość estetyczna i społeczna. Według samego Blooma teksty kanoniczne oferują także wartość duchową, za pomocą takich narzędzi jak ironia i metafora, prowokując czytelników do poznawania własnej kondycji. Artykuł zdaje także sprawę z polskiej recepcji pism Blooma oraz porusza kwestię sposobu, w jaki literatura polska jest obecna w zaprojektowanym przez niego zachodnim kanonie. Jej słaba reprezentacja domaga się odpowiedzi krytyków, którzy mogliby zaproponować własną listę dzieł, według kryteriów podobnie mocnych jak te Bloomowskie, lecz przezwyciężających jego - niejednokrotnie kolonizatorski, patriarchalny i ekskluzywistyczny - wpływ.The relationship between the idea of Harold Bloom’s literary canon and the status of his own critic’s oeuvre is discussed in the article. Diverse topics and literary styles cultivated by the author of The Anxiety of Influence were characterised and evaluated from the perspective of their canonicality understood as an aesthetic and social value. According to Bloom himself, the canonical texts also offer the spiritual value with help of such tools as irony and metaphor, provoking the readers to assess their own condition. The article presents the Polish reception of Harold Bloom’s texts and examines the presence of Polish literature in the Western literary canon designed by him. Its weak representation demands response of the critics who could propose their own list of literary works based on criteria equally strong as Bloom’s ones but overcoming his oftentimes colonial, patriarchal and exclusionary influence
Logos in Harold Bloom’s intertextuality project
No full textW artykule autorka przestawiła sposób objaśniania przez Harolda Blooma tego, czym są: słowo, znaczenie, interpretacja oraz koncepcja referencji słów i dzieł poetyckich. Punkt wyjścia rozważań stanowi wyjaśnienie magicznej oraz agonicznej idei logosu w ujęciu Blooma, które badacz symbolicznie określa hebrajskim słowem davhar. Następnie autorka skupiła się na przedstawieniu koncepcji znaczenia oraz uczestniczenia słów w permanentnym procesie referencji, który dotyczy także słów magicznych oraz całych tekstów. Na agonicznej koncepcji referencji słów Bloom kładzie fundament swojego autorskiego projektu teorii poezji, w której przeplatają się wątki gnostyckie, kabalistyczne, apokaliptyczne, psychoanalityczne oraz retoryczne.The Author of the article attempts to present the nature of logos, as well as the meaning, interpretation and the very idea of reference of the words and poems in Harold Bloom’s intertextual system. The starting point is the explanation of magic and agonic idea of logos in Bloom's thought, which he symbolically describes using a Hebraic word davhar. Next, the author focuses on the concept of meaning and the role of words in the permanent process of reference, which also concerns magic words and full texts or poems. The agonic idea of reference of the words is the basis on which Bloom lays the foundation of his project theory of poetry. Bloom’s theory is unique for its interplay of the Gnostic, Kabbalistic, apocalyptic, psychoanalytic and rhetoric motives.Daria Trela – magister, doktorantka w Zakładzie Komparatystyki Instytutu Literatury Polskiej na Uniwersytecie Warszawskim. Przygotowuje rozprawę doktorską pt. Bunt aniołów. Słowacki – Mickiewicz: na mapie błądzenia, w której bada relację dzieł Słowackiego i twórczości Mickiewicza, używając do tego celu metodologii wypracowanej przez Harolda Blooma. Specjalizuje się m.in. w literaturze polskiego romantyzmu, zagadnieniach związanych z komparatystyką, mitoznawstwem, co znajduje swoje odzwierciedlenie w publikowanych artykułach oraz wystąpieniach konferencyjnych. Jej rozprawa magisterska była poświęcona literaturze doby romantyzmu odczytywanej przez pryzmat mitoznawstwa porównawczego: Romantyków rozmowy z diabłem. Konterfekt boskiego adwersarza w kontekście mitologii ludowej.Uniwersytet WarszawskiBielik-Robson A., Inna nowoczesność: pytania o współczesną formułę duchowości, Kraków 2000.Bielik-Robson A., Duch powierzchni. Rewizja romantyczna i filozoficzna, Kraków 2004.Bloom H., Agon. Toward a Theory of Revisionizm, Oxford 1983.Bloom H., Międzyrozdział, w: Współczesna teoria badań za granicą. Antologia, t. IV, cz. 2, oprac. H. Markiewicz, Kraków 1996.Bloom H., Lęk przed wpływem. Teoria poezji. 1973. Medytacje o pierwszeństwie wraz z synopsis, w: Współczesna teoria badań literackich za granicą. Antologia, t. IV, cz. 2, oprac. H. Markiewicz, Kraków 1996.Bloom H., Na mapie błądzenia, w: Współczesna teoria badań za granicą. Antologia, t. IV, cz. 2, oprac. H. Markiewicz, Kraków 1996.Bloom H., Lęk przed wpływem. Teoria poezji, przeł. A. Bielik-Robson, M. Szuster, Kraków 2002.Bloom H., The Breaking of Form, w: Deconstruction and Criticism, red. H. Bloom, P. de Man, J. Derrida, G. Hartman, J. H. Miller.Lipszyc A., Międzyludzie. Koncepcja podmiotowości w pismach Harolda Blooma z nieustającym odniesieniem do podmiotoburstwa, Kraków 2004.15316
Claude McKay, circa 1933
No full textA portrait of Claude McKay. Written on recto: Claude McKay, author of "Banjo" and "Home to Harlem," whose new novel, "Banana Bottom," will be published by Harper & Brothers on March 29th, has been living in Spain and Morocco for the last three years. The background of his novel is the island of Jamaica, British West Indies, where Mr. McKay was born. Written on verso: For Harold Jackman After a five year interval wit[?] the same sentiment. Claude McKa
- …
