Search

Set during the height of the Congolese Civil War (1960-1965), Congo vivo (Giuseppe Bennati, 1962), narrates the affair between an Italian journalist, Roberto (Gabriele Ferzetti) and Annette (Jean Seberg), the wife of a Belgian diplomat. The film was co-written by William Demby (1922-2013), a novelist, journalist, translator, and screenwriter, who like many African American soldiers who arrived in Italy during World War II as part of the U.S. Allied Forces, remained in the country for the better part of forty years. Written during Demby's period of intermittent expatriatism between the United States and Italy, and in the same period as his signature novel, The Catacombs (1965), I argue Congo vivo, a hybrid film with elements of documentary, ethnography, and narrative fiction, is situated within a transnational and transmedia framework and offers another perspective on Italian Third Worldism. I also argue that Congo vivo anticipates the filone films set within former colonial territories that index not only the decline of the Italian film industry and the rise of television, but also an emergent postcolonial condition. [ABSTRACT FROM AUTHOR]

The article focusses on a multi-aspect comparative analysis of J. Conrad's Heart of Darkness and H. B. Stowe's Uncle Tom's Cabin. Taking into account the obvious differences between the works, the author analyses the hell of slavery and exploitation of Africa by the colonial states that built systems that created criminals such as Kurtz and Legree. The author presents the genealogy of Conrad's image of tortured Africa, the prefiguration of which is found in Polish romantic messianism. The article also presents a similar reception of both works. First, they gained recognition, then in the postwar period, they were criticized for the forms of racism hidden in them, and finally, in recent decades, they have been rehabilitated by new readings. The perspective presented here shows how women's popular prose covertly influenced Conrad's intertextual tendency, both his poetics and the worldview of his prose. [ABSTRACT FROM AUTHOR]

In 1997 Claire Sponsler argued that, contrary to conventional interpretations, the anarchic, disruptive bodies of sin in medieval morality plays do not "unproblematically and unilaterally lead to the ratification of virtue over vice." Instead, "the memory of the pleasures of misbehavior, of the satisfactions that come from unruly bodies allowed free rein" lingered with spectators to the extent that any "attempts made by these plays to bring misbehavior to a halt look highly unsatisfactory and incomplete." For Sponsler, the powerful allure of vice performed was such that morality plays would have been unable fully "to negate the charms of misgovernance" they enacted. In this article, however, I want to argue against Sponsler's assumption and investigate how one English morality play, The Castle of Perseverance , understood very well the allure of performed sin and actively cultivated it as part of its dramaturgical and didactic strategies. All morality plays, as Sponsler observes, use representations of "disorderly behavior grounded in the misuse of bodies and commodities," investing these figures of sin "with remarkable energy, interest, and vitality, so much so that the vices are ... very seductive." The Castle is no exception, and the vast majority of its roughly three thousand lines are spoken by the Three Enemies of Man and their affiliated Sins. In addition, the playtext also provides unusually rich, detailed descriptions of how these spiritual enemies and sins should move around the performance space. Drawing on the theory of kinesthetic empathy, I examine the kinesic dimension of these "unruly bodies" and argue, contrary to Sponsler, that it is their presence, and the audience's own embodied responses to them, that deepens and enhances, rather than detracts from, the play's moral message. [ABSTRACT FROM AUTHOR]

Andrew Furuseth and Olaf Tveitmoe, both immigrants from Norway, were two of the most powerful labor leaders on the West Coast in the early twentieth century. Their perspectives and experiences as Scandinavians, as immigrants, and as San Franciscans helped to forge an approach to political activism that has long been overshadowed by the far more famous events of the 1960s and 1970s. Working with innovative methods in the field of transcultural biography, this article argues that the contradictory, transcultural nature of each man's career, which included both anti-Asian racism and a profound opposition to war and militarism, had a major impact on San Francisco's political consciousness that is still felt today. [ABSTRACT FROM AUTHOR]

The article reflects on the intertextual inferences in the works of novelist Thomas Wolfe and playwright Eugene O'Neill. Featured works are masterpieces titled "Looke Homeward, Angel," by Wolfe, and "Long Day's Journey Into Night," by O'Neill. It notes that both of these works have significant inferences from their intertextuality and have been taken or mistaken for works of pure autobiography.

This research examines a little-studied facet of nineteenth-century journalism, the Printers' Festival or Franklin Dinner, finding in the discourse of the many toasts lauding the craft evidence of attempts to turn an artisanal craft into a profession. The research argues that these feasts were sites of production for values and practices that helped create group identity and culture that led to formal press associations by the middle of the century. [ABSTRACT FROM AUTHOR]

The article focuses on dancer Greta Nissen. Perhaps with Nissen's own complicity, theatre and film historians have largely ignored her. Dance historians have been almost oblivious of her existence. Yet in a career of nearly twenty-five years, she performed with the Royal Danish Ballet while a student at the company's school in Copenhagen, studied with dancer Michel Fokine and performed a series of acclaimed "Fokine evenings" across her native Norway, danced with great success in two Broadway shows, created a leading part in the original version of Agnes de Mille's "Three Virgins and a Devil" in the first of her successful West End appearances, and made over thirty films in Denmark, the United States, and England.

Opinion. Comments on the book `Christ's Tears Over Jerusalem,' written by William Shakespeare, while referring to the book `Julius Caesar,' by Thomas Nashe. Composition of Shakespeare's book; Citing of `Christ's Tears Over Jerusalem,' by scholars and editors of `Julius Caesar'; Reference to Cambridge edition of `Julius Caesar,' in which Dover Wilson cited `Christ's Tears Over Jerusalum,' page 82: 27-30; Information on scene from the book `Christ's Tears Over Jerusalem.'

Discusses the Irish-American drama in the late nineteenth century America. Powerful aspect of the nineteenth-century melodramatic theme and setting; Irish-American theatrical strategy; Most popular playwrights creating dramas for urban underlife; Themes and plot of the dramatists from the Irish-American subculture; Description of the staged space of the Irish-American dramatists; Views of Steven Pinker, cognitive psychologists about Irish-American drama.

Focuses on issues concerning punctuation in William Shakespeare's book 'King Richard II.' Unreliability of facsimile editions of Shakespearean quartos; Authorial pointing and Shakespeare's rhetorical or dramatic punctuation in the quartos.

Presents a bibliography of rhetoric and public address for the year 1956 published in the August 1, 1957 issue of 'Speech Monographs.'

No one at the Indian Bureau, in Washington, seemed interested when, early in the summer of 1876, Indian Agent John P. Clum suggested taking a carload of his San Carlos Apaches back East –“to see the greatness of our United States and become impressed by the progress of their white brothers.” So Clum relates in the semi-autobiographical book Apache Agent.Two years before, in Feburary, 1874, he had been commissioned :by President Grant as Agent for the Apaches at the San Carlos Indian Reservation, Arizona Territory. [ABSTRACT FROM PUBLISHER]

Presents updates on the Speech Association of America as of March 1961. Minutes of the fifth annual session of the Administrative Council; Information on the 1960 Legislative Assembly; Report of the executive secretary.

Presents several news related to the Speech Association of America as of February 1961. List of officers and members of several committees; Information on different educational organizations; Observations on speech conventions.

Presents an update on various conventions in the U.S. as of April 1, 1960. Excerpts from the minutes of the Administrative Council meeting at Statler Hilton Hotel in Washington from December 17 through 31, 1959; Excerpts from the minutes of the 1959 Legislative Assembly; Budgets submitted by Finance Committee and approved by Administrative Council and Legislative Assembly at the 1959 Convention.

Editorial. Editorial policy of the periodical on speech 'Quarterly Journal of Speech.' Names of new editors of the periodical; Retirement of the former editor of the periodical; Goals of the editors of the periodical.

Presents an update concerning speech associations in the U.S. as of February 1, 1956. Income of the Speech Association of America during the fiscal year ending July 1, 1955; Overview of the memorial resolution adopted by the Faculty of Purdue University on November 22, 1955; Information on the 1956 Conference of the Central States Speech Association at the Hotel Sherman in Chicago, Illinois on April 6 and 7, 1956.

Reports on the nominations submitted by the Nominating Committee of the Speech Association of America with the provisions of the Constitution and Bylaws which became operative on January 1, 1956. Members of the Administrative Council; Regional representatives in the Legislative Assembly; Representative-at-large in the Legislative Assembly.