‘I’m Once Again the Previous Me’

2019 ◽  
pp. 421-443
Author(s):  
Dominic McHugh
Keyword(s):  
The Other ◽  
Film Musicals ◽  
Broadway Musicals ◽  
Title Character ◽  
Star Text

This chapter on Barbra Streisand’s first three film musicals considers how her star text affects the adaptation of the three Broadway musicals on which they are based. Although Streisand starred in Funny Girl on the stage, the screen version made significant changes to the musical, relating the story as a flashback so that it could be telescoped through her perspective. Most of the other characters’ songs were cut, a ploy that was also used in On a Clear Day You Can See Forever to emphasize Streisand as the star. In both films, as well as in Hello, Dolly!, Streisand was cast opposite men with weak singing voices, empowering her performance musically in each case. A good example of how this works is in the title song of On a Clear Day, where Yves Montand performs the number complete with a simple orchestration and staging, followed by Streisand’s much grander performance. Meanwhile, in Dolly! it was necessary to make changes to the title character in order to draw attention away from the fact that Streisand was much too young for the role; thus she is depicted as a general busybody in ‘Just Leave Everything to Me,’ which replaced ‘I Put My Hand In,’ which focuses on Dolly as a matchmaker.

Judas-Friars Of The Popish Plot: The Catholic Perspective On Dryden's The Spanish Fryar*

2006 ◽  
Vol 28 (2) ◽  
pp. 225-244
Author(s):  
Anne Barbeau Gardiner
Keyword(s):  
The Other ◽  
Title Character ◽  
Catholic Perspective ◽  
Popish Plot

Friar Dominic, the title character of The Spanish Fryar (1681), is usually regarded as a ‘crude caricature of Catholicism,’ an advertisement for Dryden's Protestantism during the Popish Plot crisis of 1680. But there is another way of looking at him. One may ask, why does Dryden make this wicked priest a Dominican at a time when Jesuits are being singled out for vituperation? Why does he call him Friar Dominic, have him refer to Saint Dominic as a ‘sure Card’ who never fails ‘his Votaries,’ and plainly term him ‘this Jacobin’ (II.iii.2), another name for a Dominican? Evidently, he wants the reader to notice that his satire is aimed at one particular Order, not all Catholic Orders. As William Prynne noted long before, ‘no Protestants’ ever wrote ‘so bitterly against these Popish orders as themselves do one against the other.’ Dryden's choice seems odd, since Dominicans were a handful compared to the 120 Jesuits, 80 Benedictines and 55 Franciscans in the English mission. They were not even worth the historian's numbering. Besides this, Cardinal Philip Howard, Dryden's uncle by marriage, was an eminent Dominican under whose aegis Dryden would place two of his sons after the 1688 Revolution, when they went to Rome to serve the Pope.

Se kép, se hang?

2013 ◽  
Vol 52 (1-2) ◽  
Author(s):  
Miklós Takács
Keyword(s):  
Personal Identity ◽  
The Other ◽  
Cultural Trauma ◽  
The Novel ◽  
Crucial Importance ◽  
Other Hand ◽  
German Sociologist ◽  
The Individual ◽  
Title Character ◽  
Do So

Sebald’s novel Austerlitz can be considered a „trauma novel” not only for a narratological reason (that is, because it reflects upon the non-representability of trauma on the level of words), but also because it reveals the impossibility of depicting a past memory with pictures – despite of the fact that both the narrator and the title character are feel impelled to do so. The attitude of the narrator illustrates a phenomenon that the German sociologist Bernhard Giesen describes as the perpetrator’s trauma. According to this theory the individual trauma becomes a collective one in case of the perpetrators. Austerlitz, on the other hand, turns into a medium of the victimes as well. Cultural trauma can also become a part of the personal identity due to certain individuals and media, such as the photography, which is of crucial importance for remembering in the novel. One can describe the sound and picture of the trauma with the term of catachresis. This figure involves the constraint of signifying the non-representability.

scholarly journals Textológiai megfontolások és poétikai tanulságok

2020 ◽  
Vol 59 (3–4) ◽  
Author(s):  
Márton Szilágyi
Keyword(s):  
19Th Century ◽  
Literary History ◽  
18Th Century ◽  
The Other ◽  
Publishing History ◽  
Central Figure ◽  
Epic Poem ◽  
The 19Th Century ◽  
Important Character ◽  
Title Character

Mihály Fazekas’s epic poem was first published in 1815 without indicating the author; the author then intended to replace this “piratical edition”, published without his knowledge, with an authorised, revised edition, but still anonymously (1817). The article first discusses the philological questions of this publishing history with attention to the importance of textual modifications by the author. The study takes into consideration the questions surrounding the presumed source material’s origins known in international folklore, critically reviewing the standpoint of folkloristics and literary history so far. Then it concludes that it is not the title character of Lúdas Matyi who is the central figure, but the other important character, Döbrögi, because this latter one is capable of demonstrating the state of purity achieved through suffering, and Lúdas Matyi, who takes his revenge on him three times by beating him up, is only depicted as a means to that end. The article identifies the fundamental structural schemes of crime stories (Kriminalgeschichte) in the poetic solutions of the work, which genre became popular at the end of the 18th century-beginning of the 19th century, reaching Hungary via German intermediation in the 1810s.

The Philosophical Lineage of Mr. Cogito (part 2)

2021 ◽  
Vol 3 ◽  
pp. 89-110
Author(s):  
Halina Kozdęba-Murray
Keyword(s):  
Modern Philosophy ◽  
The Self ◽  
The Other ◽  
Western Civilization ◽  
Philosophical Thinking ◽  
Existence Of God ◽  
Immortal Soul ◽  
Deductive Method ◽  
Lyrical Subject ◽  
Title Character

The article constitutes the second part of a larger paper concerning the philosophical heritage of Mr. Cogito, the lyrical subject of Zbigniew Herbert’s poems. The self-consciousness of the title character is formed, quite like in P. Ricoeur’s hermeneutics of existence, in relation to the sphere of history and culture, as well as to the other. Mr. Cogito, when confronted with the war and annihilation, cannot simply use the Cartesian deductive method of reasoning in order to intelligibly prove the existence of God and an immortal soul. Therefore, he refers in his philosophical thinking not merely to rationalism, but also to symbol, which more profoundly than ratio describes the nature of his existence. When challenged by boundary situations, he unsuccessfully attempts to find consolation in the Upanishads, Stoicism, or the wisdom of Chasidism. His attitude towards the modern philosophy of nature as well as to the relative motion theory is that of a sceptic; he juxtaposes them with Aristotle’s Logic. The propensity of contemporary Western civilization to follow magic or gnosis is perceived by him as a sign of self-delusion, or even self-destruction.

“GOING TO WAKE UP EGYPT”: EXHIBITING EMPIRE IN EDWIN DROOD

2002 ◽  
Vol 30 (2) ◽  
pp. 529-550 ◽  
Author(s):  
Hyungji Park
Keyword(s):  
Driving Forces ◽  
Ancient Egypt ◽  
Suez Canal ◽  
The Other ◽  
The Novel ◽  
Wall Paintings ◽  
Ancient Egyptian ◽  
Partial Models ◽  
Trading Routes ◽  
Title Character

IN 1821 IN PICCADILLY, Giovanni Battista Belzoni staged a spectacular full-scale reproduction of royal tombs he had uncovered in the Valley of the Kings. Crowds of paying visitors milled through rooms at the Egyptian Hall, marveling at enormous stone artifacts and at colorful wall paintings replicating ancient Egyptian tomb interiors. About half a century later and around the globe, tens of thousands of guests, including many European luminaries, witnessed the grand 1869 opening of the Suez Canal and fêted the achievement of its chief engineer, Ferdinand de Lesseps, with fireworks and extravagant feasts. The driving forces behind these exhibitions were very different — one was an entrepreneur’s packaging of ancient Egypt into a leisure excursion for Londoners, the other evidence of Egyptian acquiescence to European pressure for enhanced trading routes; one was available for a middle-class, fee-paying popular British audience; the other to specially invited international guests traveling thousands of miles — but both were public displays that rendered Egypt, past and present, into a cultural and visual commodity for the West. Dickens’s final, unfinished novel The Mystery of Edwin Drood (1870), written during the excitement and controversy over the Suez Canal and drawing on both de Lesseps and Belzoni as partial models for the title character, is deeply aware of such Egypt-gazing, but Egypt’s presence within the novel is in fact highly unspectacular, almost invisible.

Incest and ridicule in the Poenulus of Plautus

1995 ◽  
Vol 45 (1) ◽  
pp. 250-252 ◽  
Author(s):  
George F. Franko
Keyword(s):  
The Other ◽  
Negative Stereotypes ◽  
Second Punic War ◽  
Title Character

Readers of Plautus’ Poenulus are struck by the generally ‘sympathetic’ portrayal of the title character Hanno, a portrayal somewhat surprising to us since the play was produced shortly after the Second Punic War.1 Contrary to what we might expect, Hanno the Carthaginian is neither villain nor scapegoat, and he even exhibits the Roman virtue of pietas.2 However, Hanno's portrayal is not wholly positive, for Plautus delineates his character principally by endowing him with the negative stereotypes of Punic physiognomy, dress, speech, and behaviour familiar to his Roman audience.3 Hanno's Punic ethnicity is not merely an incidental matter of fact, as it is with his relative Agorastocles, but an essential part of his characterization that serves to isolate him from all the other characters of the palliata. While some of Hanno's vices—deceit, licentiousness, and effeminacy—are not exclusive to Carthaginians and are shared by other Greek characters in the palliata, there is one vice peculiar to Hanno. In this paper I argue that Plautus ridicules Hanno through arecurrent insinuation of incest. The insinuation of incest has not, to my knowledge, been noted previously, but our text does imply it in three conspicuous places.

scholarly journals Two Separate Persons: Ethnicity and Identity in Trollope's Phineas Finn

Elements ◽  
2016 ◽  
Vol 12 (1) ◽  
Author(s):  
Jennifer Heine
Keyword(s):  
Political Behavior ◽  
National Identities ◽  
The Other ◽  
The Novel ◽  
Ethnic Stereotypes ◽  
Members Of Parliament ◽  
Title Character

This essay explores Anthony Trollope’s decision to identify Phineas Finn, of his various “Palliser Novels,” as Irish. Many Victorian readers questioned Phineas’s ethnicity and lack of stereotypically Irish characteristics, and Trollope himself renounced this decision in his autobiography. The character’s Irishness, however, seems to be more than a gimm ick to differentiate the novel from similar tales of aspiring members of Parliament; in Phineas Finn, the author uses ethnicity to invert the national marriage trope. Trollope employs gendered ethnic stereotypes, casting his title character as feminine in his romantic entanglements and even his political behavior, while the English ladies he meets are described as masculine. But the character of Phineas emerges as more complicated than a feminine or emasculated one; in his tenuous loyalty to his docile Irish sweetheart, Phineas becomes a conventional male lead. His Irishness, then, lends a duality to his character that encompasses more than merely two national identities; it embodies two entirely different kinds of men: one masculine and the other feminine, one a philanderer and the other loyal, one English and the other Irish.

Tricks of the Light

2018 ◽  
Author(s):  
Lloyd Whitesell
Keyword(s):  
Magical Realism ◽  
Critical Reflection ◽  
Vantage Point ◽  
The Other ◽  
Musical Genre ◽  
Film Musicals

This chapter turns to the other side of the coin—the failure of magical belief. Glamour conjures up a transfigured counter-reality and acts as a bridge to that imagined existence. But the entire symbolic edifice is built on fancy and prone to collapse, with reality reasserting itself and dragging us back from our projection into the dreamworld. Many film musicals warn against glamour as mystification or deceit. Four types of examples are discussed, each skeptical in a different way (joking, haunted, wishful, manipulative). Concluding discussion shows how the musical genre has affinities with the hybrid aesthetic of “magical realism.” The incorporation of a realistic dimension into the discourse of musical fantasy preserves an external vantage point for critical reflection—a demystifying impulse in tension with glamour’s mystique.

Stromatoporoids from the Famennian (Devonian) Wabamun Formation, Normandville oilfield, north–central Alberta, Canada

1988 ◽  
Vol 62 (03) ◽  
pp. 411-419 ◽  
Author(s):  
Colin W. Stearn
Keyword(s):  
Patch Reef ◽  
Abundant Species ◽  
The Other ◽  
North Central ◽  
Biotic Crisis

Stromatoporoids are the principal framebuilding organisms in the patch reef that is part of the reservoir of the Normandville field. The reef is 10 m thick and 1.5 km2in area and demonstrates that stromatoporoids retained their ability to build reefal edifices into Famennian time despite the biotic crisis at the close of Frasnian time. The fauna is dominated by labechiids but includes three non-labechiid species. The most abundant species isStylostroma sinense(Dong) butLabechia palliseriStearn is also common. Both these species are highly variable and are described in terms of multiple phases that occur in a single skeleton. The other species described areClathrostromacf.C. jukkenseYavorsky,Gerronostromasp. (a columnar species), andStromatoporasp. The fauna belongs in Famennian/Strunian assemblage 2 as defined by Stearn et al. (1988).

D. The Line Spectrum of Pulsating Variable Stars

1967 ◽  
Vol 28 ◽  
pp. 207-244
Author(s):  
R. P. Kraft
Keyword(s):  
Variable Stars ◽  
The Other ◽  
Line Spectrum ◽  
Afternoon Session ◽  
Empirical Information ◽  
Pulsating Variable Stars ◽  
Almost Continuous ◽  
Informal Approach

(Ed. note:Encouraged by the success of the more informal approach in Christy's presentation, we tried an even more extreme experiment in this session, I-D. In essence, Kraft held the floor continuously all morning, and for the hour and a half afternoon session, serving as a combined Summary-Introductory speaker and a marathon-moderator of a running discussion on the line spectrum of cepheids. There was almost continuous interruption of his presentation; and most points raised from the floor were followed through in detail, no matter how digressive to the main presentation. This approach turned out to be much too extreme. It is wearing on the speaker, and the other members of the symposium feel more like an audience and less like participants in a dissective discussion. Because Kraft presented a compendious collection of empirical information, and, based on it, an exceedingly novel series of suggestions on the cepheid problem, these defects were probably aggravated by the first and alleviated by the second. I am much indebted to Kraft for working with me on a preliminary editing, to try to delete the side-excursions and to retain coherence about the main points. As usual, however, all responsibility for defects in final editing is wholly my own.)

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