‘A Humane, Practical, and Beautiful Solution’

2019 ◽  
pp. 292-314
Author(s):  
Megan Woller
Keyword(s):  
Mexican American ◽  
Sexual Revolution ◽  
Film Adaptation ◽  
Social Conventions ◽  
American Perspective ◽  
Production Code ◽  
Second Wave Feminism ◽  
Triangular Relationships ◽  
The 1960S

This chapter deals with sexuality in the much-maligned film adaptation of Lerner and Loewe’s Paint Your Wagon, the least popular of the team’s three 1960s film adaptations (My Fair Lady and Camelot are the others). Situating the movie in the sexual revolution and second-wave feminism of the 1960s, the chapter examines the characterization of Elizabeth and her only song, ‘A Million Miles Away Behind the Door,’ as well as her polyandrous marriage to Ben and Pardner. The chapter also reflects on not only how adaptations change the source but—due to changing social conventions and expectations—why they must. In the case of Paint Your Wagon, the film matches Lerner’s depiction of triangular relationships in My Fair Lady and Camelot, deletes Jennifer and Julio, the principal romantic couple of the stage version, omits the Mexican American perspective represented by Julio, adds the new character Pardner, and places Ben Rumson into a polyandrous relationship with Pardner and Elizabeth. Thanks to the shift from the Production Code to the Ratings System in 1968, Paint Your Wagon could portray a more liberal sexual situation than would have been the case over a decade earlier when the stage version appeared, and the screenplay exploits this possibility in a variety of ways, thereby reflecting its time.

scholarly journals Past and future trends of Egypt’s water consumption and its sources

2021 ◽  
Vol 12 (1) ◽  
Author(s):  
Catherine A. Nikiel ◽  
Elfatih A. B. Eltahir
Keyword(s):  
Economic Growth ◽  
Virtual Water ◽  
Comprehensive Analysis ◽  
Future Trends ◽  
Nile Water ◽  
The Gift ◽  
Per Capita ◽  
The 1960S

AbstractFor millennia the Nile supplied Egypt with more water than needed. As the population grew and the economy expanded, demand on water increased accordingly. Here, we present a comprehensive analysis to reconstruct how total demand on water outstripped supply of the Nile water in the late 1970s, starting from a surplus of about 20 km3 per year in the 1960s leading to a deficit of about 40 km3 per year by the late 2010s. The gap is satisfied by import of virtual water. The role of economic growth in driving per capita demand on water is quantified based on detailed analysis of water use by agriculture and other sectors. We develop and test an empirical model of water demand in Egypt that relates demand on water to growth rates in the economy and population. Looking forward, we project that within this decade of the 2020 s, under nominal scenarios of population and economic growth, Egypt is likely to import more virtual water than the water supplied by the Nile, bringing into question the historical characterization of Egypt as “the gift of the Nile”.

scholarly journals Characterization of Two Multidrug-Resistant IncA/C Plasmids from the 1960s by Using the MinION Sequencer Device

2016 ◽  
Vol 60 (11) ◽  
pp. 6780-6786 ◽  
Author(s):  
Mónika Szabó ◽  
Tibor Nagy ◽  
Tímea Wilk ◽  
Tibor Farkas ◽  
Anna Hegyi ◽  
...  
Keyword(s):  
Antibiotic Resistance ◽  
Bacterial Genome ◽  
Multidrug Resistant ◽  
Phenotypic Change ◽  
Long Reads ◽  
Loss Of Resistance ◽  
Rapid Characterization ◽  
Resistance Island ◽  
The 1960S

ABSTRACTTwo A/C incompatibility group (IncA/C family) plasmids from the 1960s have been sequenced and classified into the A/C2type 1 group. R16a and IP40a contain novel antibiotic resistance islands and a complete GIsul2 genomic island not previously found in the family. In the 173.1-kb R16a, the 29.9-kb antibiotic resistance island (ARI) is located in a unique backbone position not utilized by ARIs. ARIR16aconsists of Tn1, Tn6020, and Tn6333, harboring the resistance genesblaTEM-1DandaphA1band amermodule, respectively; a truncated Tn5393copy; and a gene cluster with unknown function. Plasmid IP40a is 170.4 kb in size and contains a 5.6-kb ARI inserted into thekfrAgene. ARIIP40acarryingblaTEM-1DandaphA1bgenes is composed of Tn1with a Tn6023insertion. Additionally, IP40a harbors single IS2, IS186, and Tn1000insertions scattered in the backbone; an IS150copy in GIsul2; and a complete Tn6333carrying amermodule at the position of ARIR16a. Loss of resistance markers in R16a, IP40a, and R55 was observed during stability tests. Every phenotypic change proved to be the result of recombination events involving mobile elements. Intramolecular transposition of IS copies that generated IP40a derivatives lacking large parts of the backbone could account for the formation of other family members, too. The MinION platform proved to be a valuable tool in bacterial genome sequencing since it generates long reads that span repetitive elements and facilitates full-length plasmid or chromosome assembly. Nanopore technology enables rapid characterization of large, low-copy-number plasmids and their rearrangement products.

O początkach wychowania seksualnego w Polsce i kontestacji młodzieżowej na Zachodzie – zapis ostatniego wywiadu z Profesorem Andrzejem Jaczewskim

2021 ◽  
pp. 188-205
Author(s):  
Julia Stępniewska ◽  
Piotr Zańko ◽  
Adam Fijałkowski
Keyword(s):  
Sex Education ◽  
Auxiliary Function ◽  
Sexual Revolution ◽  
Sexual Education ◽  
The West ◽  
The Social ◽  
1960S And 1970S ◽  
The 1960S ◽  
The University ◽  
The Relationship

In this text, we ask about the relationship between sexual education in Poland in the 1960s and 1970s with the cultural contestation and the moral (including sexual) revolution in the West as seen through the eyes of Prof. Andrzej Jaczewski (1929–2020) – educationalist, who for many years in 1970s and 1980s conducted seminars at the University of Cologne, pediatrician, sexologist, one of the pioneers of sexual education in Poland. The movie “Sztuka kochania. Historia Michaliny Wisłockiej” (“The Art of Love. The Story of Michalina Wisłocka” [1921–2005]), directed in 2017 by Maria Sadowska, was the impulse for our interview. After watching it, we discovered that the counter-cultural background of the West in the 1960s and 1970s was completely absent both in the aforementioned film and in the discourse of Polish sex education at that time. Moreover, Andrzej Jaczewski’s statement (July 2020) indicates that the Polish concept of sexual education in the 1960s and 1970s did not arise under the influence of the social and moral revolution in the West at the same time, and its originality lay in the fact that it was dealt with by professional doctors-specialists. We put Andrzej Jaczewski’s voice in the spotlight. Our voice is usually muted in this text, it is more of an auxiliary function (Chase, 2009). Each of the readers may impose their own interpretative filter on the story presented here.

Enforcing Heterosexuality: Adapting Lillian Hellman’s ‘The Children’s Hour’ for the screen

2010 ◽  
Author(s):  
Will Glass
Keyword(s):  
Motion Picture ◽  
Single Female ◽  
Female Teachers ◽  
Queer People ◽  
Production Code ◽  
The 1960S

The Motion Picture Production Code of 1930 banned homosexuality from the screen. This paper uses two films as a case study of the Code's impact on Hollywood's depiction of homosexuality. Both These Three (1936) and The Children's Hour (1961) were adaptations of Lillian Hellman's play in which two single female teachers have their lives ruined by a lie that the women were lesbians. With the first the Code's impact was pervasive. The PCA dictated that the accusations of lesbianism be omitted. By the 1960s, the PCA was relaxing its ban so a film could be made that retained the play's lesbian content. This paper argues that the Production Code was Hollywood's means of enforcing heterosexuality and that, even in the era when the Code's influence was waning, the necessity of maintaining heterosexuality as society's norm still governed how movies (mis)represented the lives of queer people.

Write Your Mother

2016 ◽  
Author(s):  
Amanda C. Seaman
Keyword(s):  
Literary History ◽  
Japanese Women ◽  
The Self ◽  
The Other ◽  
Pregnancy And Childbirth ◽  
Second Wave Feminism ◽  
Meiji Era ◽  
History Of ◽  
The 1960S ◽  
Second Wave

This chapter traces the literary history of Japanese women writing about pregnancy and childbirth, focusing on two key figures in this development. The first is Meiji-era poet Yosano Akiko whose works explored her experiences as an expectant mother and highlighted the unsettling aspects of pregnancy. While Yosano’s works permitted the literary treatment of formerly taboo issues, later writers rejected her lead, instead treating pregnancy as the prelude to motherhood, as a quasi-sacred moment. This persisted until the 1960s and 70s, when writers influenced by second-wave feminism challenged patriarchal society, rejecting the roles of wife and mother. The second was Tsushima Yuko, whose novels and stories explored alternative, mother-centered family models. Since then, writing about pregnancy rests on these two authors: on one side, treatments of pregnancy that emphasize the alien and the disquieting, and on the other, more ironic works, focusing upon the self-assertive and individualistic nature of childbearing.

Hollywood Can’t Wait: Elaine May and the Delusions of 1970s American Cinema

2019 ◽  
pp. 41-62
Author(s):  
Maya Montañez Smukler
Keyword(s):  
Women Directors ◽  
Female Characters ◽  
American Cinema ◽  
New Hollywood ◽  
Second Wave Feminism ◽  
Feminist Film ◽  
The 1960S ◽  
First Time ◽  
Second Wave ◽  
Made In

Elaine May began her career as a filmmaker during the 1970s when the mythology of the New Hollywood male auteur defined the decade; and the number of women directors, boosted by second wave feminism, increased for the first time in forty years. May’s interest in misfit characters, as socially awkward as they were delusional, and her ability to seamlessly move them between comedy and drama, typified the New Hollywood protagonist who captured America’s uneasy transition from the hopeful rebellion of the 1960s into the narcissistic angst of the 1970s. However, the filmmaker’s reception, which culminated in the critical lambast of her comeback film Ishtar in 1987, was uneven: her battles with studio executives are legendary; feminist film critics railed against her depiction of female characters; and a former assistant claimed she set back women directors by her inability to meet deadlines. This chapter investigates Elaine May’s career within the lore 1970s Hollywood to understand the industrial and cultural circumstances that contributed to the emergence of her influential body of work; and the significant contributions to cinema she made in spite of, and perhaps because of, the conflicts in which she was faced.

Sign in / Sign up

Export Citation Format

Share Document