John Barrymore's ‘Hamlet’ at the Haymarket Theatre, 1925

1991 ◽  
Vol 7 (27) ◽  
pp. 246-260 ◽  
Author(s):  
Michael A. Morrison
Keyword(s):  
New York ◽  
Twentieth Century ◽  
High Water ◽  
Future Generations ◽  
High Water Mark ◽  
Doctoral Candidate ◽  
The City

John Barrymore's Hamlet, first seen in New York during the season of 1922–23, stands as a high-water mark of Shakespearean interpretation during the inter-war period. But although biographical studies of the actor and his family have appeared steadily over the years, little effort has been made to situate Barrymore's distinctive contribution to the acting of the character within the broader context of nineteenth-and twentieth-century Shakespearean production. Here Michael A. Morrison examines the circumstances surrounding Barrymore's visit to London with his Hamlet in 1925, and the far-reaching influence of his achievement on future generations of actors and directors. Michael A. Morrison is a New York-based writer and teacher, who is presently a doctoral candidate in theatre at the City University of New York, where he is preparing a study of Barrymore's work on Shakespeare.

Paul Robeson's Othello at the Savoy Theatre, 1930

2011 ◽  
Vol 27 (2) ◽  
pp. 114-140
Author(s):  
Michael A. Morrison
Keyword(s):  
New York ◽  
Twentieth Century ◽  
African Descent ◽  
High Water ◽  
Future Generations ◽  
Cambridge University ◽  
High Water Mark

Paul Robeson's Othello, first seen in London during the season of 1929–30, stands as a high-water mark of twentieth-century Shakespearean interpretation. Robeson was the first actor of African descent to appear in an extended-run Shakespearean production at a leading West End venue (Ira Aldridge, whose last London appearance came sixty-five years earlier, had made only three brief appearances at major London theatres). Here, Michael A. Morrison examines the circumstances surrounding Robeson's London Othello in 1930 and the far-reaching influence of his achievement on future generations of performers and playgoers. Michael A. Morrison is a New York-based writer and teacher. He is the author of John Barrymore, Shakespearean Actor (Cambridge University Press, 1997) and the forthcoming Paul Robeson's Othello.

scholarly journals Nueva York 1916. La ciudad sin límites | New York 1916. Unlimited city

ZARCH ◽  
2017 ◽  
pp. 90
Author(s):  
José Durán Fernández
Keyword(s):  
New York ◽  
Twentieth Century ◽  
New York City ◽  
Urban Planning ◽  
20Th Century ◽  
Urban Space ◽  
York City ◽  
Planning System ◽  
Siglo Xx ◽  
The City

La Ciudad de Nueva York fue pionera en la aplicación de un sistema de planificación de control urbano que pusiera orden y concierto a una ciudad que rebasa los 5 millones de habitantes a principios del siglo XX. Tal complejo organismo urbano, inédito hasta ese momento, fue objeto del más ambicioso plan urbano sobre una ciudad construida.Este artículo se destina al estudio de este originario plan urbano de 1916, el cual sentaría las bases, unas ciertamente visionarias otras excesivas, de la construcción de la Ciudad de Nueva York en todo el siglo XX. La Building Zone Resolution se creó con dos fines: resolver los problemas de congestión humana en un espacio reducido, la ciudad del presente, y proponer una visión del espacio urbano en las décadas venideras, la ciudad del futuro.El artículo es un compendio de diez textos cortos y un epílogo, que junto a sus respectivos diez documentos gráficos, construyen el corpus de la investigación. El lector pues se enfrenta a un ensayo gráfico formado por pequeños capítulos que le sumergirán en los orígenes de la primera ciudad vertical de la historia.PALABRAS CLAVE: Nueva York; Planeamiento; Visión urbana.The city of New York was a pioneer in the implementation of an urban control planning system that set in order a city that exceeds five million people in the early twentieth century. Such complex urban organism – invaluable until that moment – was the target for the most ambitious urban planning on a built city.This paper focuses on the study of this initial urban planning from 1916, which would set the basis, certainly some visionary yet others excessive, for the building of New York City throughout the 20th century. The Building Zone Resolution was created with two purposes: to solve the issues related to the human bundle in a limited space, the city of the present, and to aim a vision of the urban space in the forthcoming decades, the city of the future.The article is a compendium of ten short texts and one epilogue, which in combination with ten graphic documents, frame the corpus of this investigation. Thus, the reader will face a graphic essay composed by a series of brief chapters that highlight the beginning of the first vertical city in history.KEYWORDS: New York; Planning; Urban vision.

scholarly journals The image of New York in the context of the criminal world in the novel „The Godfather” by M. Puzo

2020 ◽  
pp. 104-112
Author(s):  
D. Yu. Boklakh ◽  
Keyword(s):  
New York ◽  
Twentieth Century ◽  
The Novel ◽  
Linguistic Context ◽  
Objective World ◽  
Local Areas ◽  
Temporal And Spatial ◽  
The City

The work identifies the features of the artistic worldview of urban reality by the author, which is associated with the reproduction of the criminal sphere of life in New York in the middle of the twentieth century. It was found that the compositional center and background of events in the work is the image of the city, which becomes a sensotvir dominant, forms a system of local areas mainly without detailed action in time. The image of the city is perceived in the imagination of the explicit recipient, obeys the author’s intention and consciously follows it, becoming a passive observer. The author’s assessment of the reproduction of the objective world of the city is absent. The construction of temporal and spatial elements occurs through the retrospection of the narrator. New York is becoming a certified reflection of the life of the mafia world, full of social vices and an idle lifestyle. The sensual sphere of the city is full of immorality, the prosperity of crime, and the mercantile interests of residents. The linguistic context of reproducing the image of the city is indicated by modeling a kind of chronicle with a lexically monotonous text, created through the use of newspaper and telegraph stylistics.

Sustainability and the City

2020 ◽  
pp. 21-48
Author(s):  
Melissa Checker
Keyword(s):  
Climate Change ◽  
New York ◽  
Twentieth Century ◽  
Real Estate ◽  
Human Resources ◽  
York City ◽  
Urban Neighborhoods ◽  
Environmental Benefits ◽  
Private Industry ◽  
The City

This chapter establishes the book’s key theoretical premises, including capitalist cycles of crisis and resolution (Marx), double-bind theory (Bateson), the spatial fix (Harvey), and capitalism and schizophrenia (Deleuze and Guattari). Using New York City as an example, it discusses how city leaders resolved economic crises through the continual exploitation of natural and human resources. The constant remaking of urban neighborhoods fueled the city’s economic engine, especially as the city shifted to a real estate-based economy. Towards the end of the twentieth century, this real estate imperative coincided with increased public concern about the dangers of climate change. The broad appeal of sustainability provided the perfect cover for Mayor Michael Bloomberg’s neoliberal agenda to recreate New York as a luxury city. But just as Bloomberg’s emphasis on private industry intensified the gap between the city’s rich and poor it also unevenly distributed environmental benefits and burdens.

“A Season in Hell”

2017 ◽  
Vol 86 (4) ◽  
pp. 632-660 ◽  
Author(s):  
Anne Rees
Keyword(s):  
New York ◽  
Twentieth Century ◽  
Daily Life ◽  
Modern Life ◽  
Early Twentieth Century ◽  
The World ◽  
Women Travelers ◽  
The City ◽  
Travel Accounts

Australian women travelers in early twentieth-century New York often recoiled from the frenetic pace of the city, which surpassed anything encountered in either Britain or Australia. This article employs their travel accounts to lend support to the growing recognition that modernity took different forms throughout the world and to contribute to the project of mapping those differences. I argue that “hustle” was a defining feature of the New York modern, comparatively little evident in Australia, and I propose that the southern continent had developed a model of modern life that privileged pleasure-seeking above productivity. At a deeper level, this line of thinking suggests that modernization should not be conflated with the relentless acceleration of daily life; it thus complicates the ingrained assumption that speed and modernity go hand-in-hand.

Doll's House/Dollhouse: Models and Agency

2017 ◽  
Vol 53 (1) ◽  
pp. 28-56 ◽  
Author(s):  
ANNABEL WHARTON
Keyword(s):  
New York ◽  
Twentieth Century ◽  
Harlem Renaissance ◽  
Gertrude Stein ◽  
Marcel Duchamp ◽  
Artistic Production ◽  
Arthur Danto ◽  
The City ◽  
The Harlem Renaissance

Models – economic, mathematical, toys, manikins – are ubiquitous. This article probes one model, the Stettheimer doll's house, in order to understand all models better. The Stettheimers, three wealthy unmarried sisters living in New York in the early the twentieth century, attracted a remarkable melange of Camp artists and writers, identified by Arthur Danto as “the American Bloomsbury.” The Stettheimers were involved in many of New York's happenings, including the Harlem Renaissance and the innovative stage productions of Gertrude Stein. Androgyny, excess, racial mixing and theatricality flourished in the Stettheimer milieu. Carrie Stettheimer's doll's house, now housed in the Museum of the City of New York, captured this life. I consider this model for two related purposes. First, and more narrowly, I document the various effects this eccentric doll's house had on the artistic production of those in its vicinity, most notably on the novels of her sister Ettie and on the paintings both of her sister Florine and Marcel Duchamp. Second, I use the evidence of the doll's house's affect to discuss the agency of models in general.

The Source of an Avant-Garde Voice: Music and Photography in José Moreno Villa

2018 ◽  
pp. 63-106
Author(s):  
Regina Galasso
Keyword(s):  
New York ◽  
Twentieth Century ◽  
Federico Garcia Lorca ◽  
Avant Garde ◽  
Epistolary Writing ◽  
Transatlantic Travel ◽  
Iberian Studies ◽  
Past Experiences ◽  
The City

This part studies the New York prose and poetry of José Moreno Villa, one of the most overlooked cultural figures of twentieth-century Iberian Studies. As a gateway to the context surrounding Moreno Villa's New York, this part begins with a prefatory discussion of Federico García Lorca and his epistolary writing in which he assesses travel to New York as one of the most useful experiences of his life while also repeatedly noting the continuous linguistic negotiations surrounding him while in the city. Then, this part introduces Moreno Villa and the fruits of his transatlantic travel: Pruebas de Nueva York (1927) and Jacinta la pelirroja (1929). Overall, it argues that Moreno Villa's past experiences coupled with his vulnerable linguistic position, as a result of travel, tuned him in the languages of photography, jazz, and the careful use of Spanish, English, and other languages. In doing so, this part proposes that Moreno Villa's literary New York brought his readers more than a superficial experience but one that introduced new discourses and considerations of language and its relationship to other media.

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