Ibsen Our Contemporary

2014 ◽  
Vol 30 (3) ◽  
pp. 243-248
Author(s):  
Richard Hornby
Keyword(s):  
Social Problem ◽  
University Of California ◽  
Keynote Address ◽  
Emeritus Professor ◽  
Avant Garde ◽  
The Past ◽  
Theatre Company ◽  
The University ◽  
The Grotesque

In this article Richard Hornby argues that Ibsen's plays are badly performed today, or not performed at all, because of directors' refusal to take them with appropriate seriousness. The tendency is to stage the plays' reputation as simplistic social problem plays rather than as the complex, challenging, bizarre dramas that Ibsen actually wrote. In particular, directors avoid the grotesque elements that are the true ‘quintessence of Ibsenism’, and that are often remarkably similar in style to that of avant-garde playwrights today. Richard Hornby is Emeritus Professor of Theatre at the University of California, Riverside. For the past twenty-eight years he has been theatre critic for The Hudson Review, and is author of six books and over two hundred published articles on various aspects of theatre. This essay was delivered as the keynote address at the fourteenth annual Ibsen Festival of the Commonweal Theatre Company, Lanesboro, Minnesota, in April 2011.

Appraising Newness: Whiteness, Neoliberalism & the Building of the Archive for New Poetry

2017 ◽  
Vol 1 (2) ◽  
Author(s):  
Eunsong Kim
Keyword(s):  
San Diego ◽  
University Of California ◽  
Collection Development ◽  
Literary Scholarship ◽  
Avant Garde ◽  
Archival Practice ◽  
Small Press ◽  
The University

The Archive for New Poetry (ANP) at the University of California San Diego was founded with the specific intention of collecting alternative, small press publications and acquiring the manuscripts of contemporary new poets. The ANP’s stated collection development priority was to acquire alternative, non-mainstream, emerging, “experimental” poets as they were writing and alive, and to provide a space in which their papers could live, along with recordings of their poetry readings. In this article, I argue that through racialized understandings of innovation and new, whiteness positions the ANP’s collection development priority. I interrogate two main points in this article: 1) How does whiteness—though visible and open—remain unquestioned as an archival practice? and 2) How are white archives financed and managed? Utilizing the ANP’s financial proposals, internal administrative correspondences, and its manuscript appraisals and collections, I argue that the ANP’s collection development priority is racialized, and this prioritization is institutionally processed by literary scholarship that linked innovation to whiteness. Until very recently, US Experimental and “avant-garde” poetry has been indexed to whiteness. The indexing of whiteness to experimentation, or the “new” can be witnessed in the ANP’s collection development priorities, appraisals, and acquisitions. I argue that the structure of the manuscripts acquired by the ANP reflect literary scholarship that theorized new poetry as being written solely by white poets and conclude by examining the absences in the Archive for New Poetry.

Alkaloid Synthesis: Mearsine (Taylor), Cephalotaxine (Li), Cocaine (Shing), Quinine (Hatakeyama), Cleavamine (Bennasar), Strychnine(Vanderwal)

2013 ◽  
Author(s):  
Douglass F. Taber
Keyword(s):  
Hong Kong ◽  
Malonic Acid ◽  
Selective Hydrogenation ◽  
Aqueous Ammonia ◽  
Conjugate Addition ◽  
University Of California ◽  
The Past ◽  
Chinese University ◽  
Alkaloid Synthesis ◽  
The University

Richard J. K. Taylor of the University of York employed (Tetrahedron Lett. 2011, 52, 2024) the Jørgensen protocol to add 2 to 1, to give the enantiomerically enriched cyclohexenone 3. Condensation of 3 with aqueous ammonia led directly to (-)-mearsine 4. Wei-Dong Z. Li of Nankai University found (Org. Lett. 2011, 13, 3538) that the intermediate from Dibal reduction of the lactone 5 underwent Nazarov cyclization, giving the α-hydroxy cyclopentenone 6. After acetylation, deprotection gave an amine that cyclized with high diastereocontrol, leading to (±)-cephalotaxine 7. Tony K. M. Shing of the Chinese University of Hong Kong cyclized (Org. Lett. 2011, 13, 2916) the aldehyde 8 by exposure to 9. The product 10 was carried on to (-)-cocaine 11, as well as several hydroxylated cocaine derivatives. Susumi Hatakeyama of Nagasaki University found (Tetrahedron Lett. 2011, 52, 923) that exposure of the simple prochiral aldehyde 12 to catalytic proline transformed it, after reduction, into the cyclized diol 13 in high ee. The diol 13 was readily carried on to quinine 14. M.-Lluïsa Bennasar of the University of Barcelona devised (Org. Lett. 2011, 13, 2042) Pd-catalyzed conditions for the cyclization of 15 that selectively delivered the unstable kinetic product 18. Selective hydrogenation of the more reactive bridgehead alkene then led to cleavamine 17. The alkene 16 is also prochiral, so it is possible that a catalyst could be found that would deliver 17 in high ee. The synthesis of the heptacyclic alkaloid strychnine 23 would, in the past, have been a major undertaking. Christopher D. Vanderwal of the University of California, Irvine, prepared (Chem. Sci. 2011, 2, 649) 23 in just six linear steps. The dienyl aldehyde 18 was available in two steps from tryptophyl bromide. Exposure to t -BuOK cyclized 18 to 19. N-deallylation followed by alkylation with 20 provided 21, setting the stage for a truly spectacular Brook rearrangement/conjugate addition, to give the Wieland-Gumlich aldehyde 22. The known condensation with malonic acid completed the preparation of 23.

Birney, (Alfred) Earle (1904–1995)

2018 ◽  
Author(s):  
Jasmine Johnston
Keyword(s):  
British Columbia ◽  
Adult Life ◽  
University Of California ◽  
Avant Garde ◽  
University Of Toronto ◽  
University Of British Columbia ◽  
The United Kingdom ◽  
The Usa ◽  
Sound Media ◽  
The University

Earle Birney was a Canadian poet, novelist, dramatist and professor. Born in 1904 in Calgary, Alberta, he spent his childhood in rural Alberta and British Columbia. His adult life was predominately spent in Canada, the USA, and the United Kingdom, although he travelled extensively. He died in Toronto in 1995. While Birney’s poetics were influenced by his academic training in Old English and Middle English, he frequently experimented with the avant-garde use of typography, orthography, dialect, and sound media. Following studies at the University of British Columbia, the University of Toronto, the University of California, Berkeley, and the University of London, he accepted a professorship in the Department of English at the University of British Columbia in 1946. His teaching led to the foundation of the Department of Creative Writing at University of British Columbia in 1965. In the same year, however, he departed to the University of Toronto to serve as the school’s first writer-in-residence.

William Bulloch, 1868 - 1941

1941 ◽  
Vol 3 (10) ◽  
pp. 819-852
Keyword(s):  
Historical Research ◽  
Literary Critic ◽  
Emeritus Professor ◽  
Main Interest ◽  
The Past ◽  
London Hospital ◽  
The Family ◽  
History Of ◽  
The University ◽  
The City

William Bulloch, Emeritus Professor of Bacteriology in the University of London and Consulting Bacteriologist to the London Hospital since his retirement in 1934, died on n February 1941, in his old hospital, following a small operation for which he had been admitted three days before. By his death a quite unique personality is lost to medicine, and to bacteriology an exponent whose work throughout the past fifty years in many fields, but particularly in the history of his subject, has gained for him wide repute. Bulloch was born on 19 August 1868 in Aberdeen, being the younger son of John Bulloch (1837-1913) and his wife Mary Malcolm (1835-1899) in a family of two sons and two daughters. His brother, John Malcolm Bulloch, M.A., LL.D. (1867-1938), was a well-known journalist and literary critic in London, whose love for his adopted city and its hurry and scurry was equalled only by his passionate devotion to the city of his birth and its ancient university. On the family gravestone he is described as Critic, Poet, Historian, and indeed he was all three, for the main interest of his life outside his profession of literary critic was antiquarian, genealogical and historical research, while in his earlier days he was a facile and clever fashioner of verse and one of the founders of the ever popular Scottish Students’ Song Book .

On Disciplinary Finitude

PMLA ◽  
2017 ◽  
Vol 132 (3) ◽  
pp. 505-512 ◽  
Author(s):  
Jeffrey T. Schnapp
Keyword(s):  
Los Angeles ◽  
Architectural History ◽  
University Of California ◽  
Filippo Tommaso Marinetti ◽  
Speed Limits ◽  
Avant Garde ◽  
The Social ◽  
History Of ◽  
Social Environmental ◽  
The University

The year 2008 was one of fruitful disjunctions. I spent the fall teaching at Stanford but commuting to the University of California, Los Angeles, to cochair the inaugural Mellon Seminar in Digital Humanities. During the same period, I was curating—at the Canadian Center for Architecture, in Montreal—an exhibition devised to mark the centenary of the publication of “The Founding Manifesto of Futurism,” by Filippo Tommaso Marinetti. Whereas other centennial shows (at the Centre Pompidou, in Paris, and at the Palazzo Reale, in Milan) sought to celebrate the accomplishments and legacies of Marinetti's avant-garde, the Canadian exhibition, Speed Limits, was critical and combative in spirit, more properly futurist (though thematically antifuturist). It probed the frayed edges of futurism's narrative of modernity as the era of speed to reflect on the social, environmental, and cultural costs. An exhibition about limits, it looked backward over the architectural history of the twentieth century to look forward beyond the era of automobility.

A Saturated Time: Three Festivals in Poland, 2007

2008 ◽  
Vol 24 (4) ◽  
pp. 307-321
Author(s):  
Murray Edmond
Keyword(s):  
New Zealand ◽  
Associate Professor ◽  
Contemporary Theatre ◽  
Avant Garde ◽  
Aotearoa New Zealand ◽  
Theatre Company ◽  
Street Performance ◽  
The University ◽  
Special Time

What different kinds of festival are to be found on the ever-expanding international circuit? What companies are invited or gatecrash the events? What is the role of festivals and festival-going in a global theatrical economy? In this article Murray Edmond describes three festivals which he attended in Poland in the summer of 2007 – the exemplary Malta Festival, held in Poznan; the Warsaw Festival of Street Performance; and the Brave Festival (‘Against Cultural Exile’) in Wroclaw – and through an analysis of specific events and productions suggests ways of distinguishing and assessing their aims, success, and role in what Barthes called the ‘special time’ which festivals have occupied since the Ancient Greeks dedicated such an occasion to Dionysus. Murray Edmond is Associate Professor of Drama at the University of Auckland, New Zealand. His recent publications include Noh Business (Berkeley: Atelos Press, 2005), a study, via essay, diary, and five short plays, of the influence of Noh theatre on the Western avant-garde, and articles in Contemporary Theatre Review (2006), Australasian Drama Studies (April 2007), and Performing Aotearoa: New Zealand Theatre and Drama in an Age of Transition (2007). He works professionally as a dramaturge, notably for Indian Ink Theatre Company, and has also published ten volumes of poetry, of which the most recent is Fool Moon (Auckland: Auckland University Press, 2004).

Doppio: a Trilingual Touring Theatre for Australia

1992 ◽  
Vol 8 (29) ◽  
pp. 70-75
Author(s):  
Tony Mitchell
Keyword(s):  
South Australia ◽  
Community Theatre ◽  
Documentary Theatre ◽  
The Past ◽  
University Of Technology ◽  
Dario Fo ◽  
Theatre Company ◽  
Theatre Studies ◽  
Youth Theatre ◽  
The University

Doppio is a theatre company which uses three languages – English, Italian, and a synthetic migrant dialect it calls ‘Emigrante’ – to explore the conditions of the large community of Italian migrants in Australia. It works, too, in three different kinds of theatrical territory, all with an increasingly feminist slant – those of multicultural theatrein-education; of community theatre based in the Italian clubs of South Australia; and of documentary theatre, exploring the roots and the past of a previously marginalized social group. The company's work was seen in 1990 at the Leeds Festival of Youth Theatre, but its appeal is fast increasing beyond the confines of specialisms, ethnic or theatric, and being recognized in the ‘mainstream’ of Australian theatrical activity. Tony Mitchell – a regular contributor to NTQ, notably on the work of Dario Fo – who presently teaches in the Department of Theatre Studies in the University of Technology in Sydney, here provides an analytical introduction to the company's work, and follows this with an interview with one of its directors and co-founders, Teresa Crea.

The Third Manifesto: ‘We Shall Come to See’

1988 ◽  
Vol 4 (14) ◽  
pp. 120-121
Author(s):  
John Andreasen
Keyword(s):  
Avant Garde ◽  
The Third ◽  
The Past ◽  
The Future ◽  
Art Forms ◽  
Science And Politics ◽  
The University ◽  
Changing Society

In June 1985, a fortnight's discussions on ‘The Theatre in the Future’ were held as part of the Fools' Festival in Copenhagen. The seminars discussed the position of theatre and its possibilities in a rapidly changing society, often from deeply opposed positions – socially engaged versus wildly avant-garde, verbal versus imagistic, anthropological versus robotic, and so on. Participants were an exciting mix of professional performers of many kinds, plus theatre critics and ‘ordinary’ engaged people, who for two weeks exchanged experiences and visions of theatre in conjunction with other art forms, and with science and politics. The manifesto below was the contribution to these seminars of John Andreasen, a veteran of ‘sixties happenings, who has subsequently concentrated on street and environmental theatre, and for the past twelve years has taught and directed in the Drama Department of the University of Aarhus.

scholarly journals Very Complex Matter: Collaborations in Art and Geobiology

Artnodes ◽  
2017 ◽  
pp. 67-75
Author(s):  
Meredith Tromble
Keyword(s):  
Early Life ◽  
Scientific Practice ◽  
University Of California ◽  
The Past ◽  
Physical Theater ◽  
The University ◽  
Complex Matter

Geobiologist Dawn Sumner, known for her research on early life in Antarctica, her contributions to the Mars Curiosity science team, and for co-founding KeckCAVES at the University of California Davis, has also spent the past decade working in collaboration with artists. This paper addresses the relevance of these art/science collaborations to her scientific practice through an analysis of four of her projects: Collapse (suddenly falling down) with Sideshow Physical Theater; Dream Vortex with Meredith Tromble; Life Extreme with Philip Alden Benn; and The Vortex with Donna Sternberg and Meredith Tromble. The experiences gained by Sumner and her collaborators show that there are many different ways in which artists and scientists can learn from each other. Echoing throughout the collaborations is the realisation that turning ideas into form yields a result that can stimulate the next cycle of creativity.

Conspiracy Rises Again

Qui Parle ◽  
2019 ◽  
Vol 28 (2) ◽  
pp. 307-333
Author(s):  
Poulomi Saha
Keyword(s):  
San Francisco ◽  
Central Valley ◽  
The United States ◽  
University Of California ◽  
British India ◽  
Philosophical Concept ◽  
The Past ◽  
Revolutionary Violence ◽  
The University ◽  
Indian Students

Abstract This essay takes up conspiracy as a discursive, political, and philosophical concept. By tracing the ideological and textual kinship between anticolonialism in India and Ireland and radicalism in the United States, it illuminates transcolonial circuits of a curiously shared revolutionary project. Rather than simply offer a historical account of those interconnections, it theorizes a practice of reading revolutionary violence as perpetual, repetitive haunting, a politics of the undead. It argues for a historiographical live burial by which violences of the past reappear to disrupt the imperial promise of futurity and continuity. From the 1916 “Hindu-German Conspiracy Trial” in San Francisco, during which members of the Ghadr Party—consisting of diasporic Indian students at the University of California, Berkeley, and Punjabi farmers in the Central Valley—were accused of conspiring with German diplomats to arm anticolonial revolt in British India, this essay tracks forms of radical sympathy that emerge, flourish, and stutter in an era of ethnonationalist constriction.

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