The Dust Bowl Myth Shindo, Charles J.
The Wilson quarterly (Washington),
09/2000, Letnik:
24, Številka:
4
Journal Article, Magazine Article
Americans today know the Dust Bowl migrants of the 1930s from Dorothea Lange's moving photographs and John Steinbeck's "Grapes of Wrath," but the reality was slightly different. Shindo discusses ...artistic representations of the Dust Bowl migration and the very different values and views of the migrants themselves.
Representations of southern identity in literature and in criticism are often based upon a combination of two factors: the role of community and the Myth of the South. Myths and images of community ...and the place of rural whites in that community have long been the axes upon which much of Southern literature has been plotted. However, the Depression tested and sometimes flouted ideas about Southern identity that had shaped the region's sense of itself since before the Civil War. It was during the 1930s that the role of community in the rural South became even more complicated, as its definitions, limitations, and abilities were articulated, confirmed, denied, or attacked. This dissertation examines three novels of the 1930s: James Still's River of Earth, Olive Tilford Dargan's Call Home The Heart, and William Faulkner's The Hamlet through the concept of concentric circles—family, extended family/larger community, and "outsiders"—to examine the workings and failings of community and to examine how these novels test the larger, popular, normative and conventional myths of community that prevailed at this tumultuous time in American history. Each circle is seen as a layer of community that does not cushion the innermost circle (most often the family)—but rather insulates it, inevitably to its destruction. Families or original communities are presented at first as isolated, verging upon self-sufficiency, and with the hope of future success, but then they are beset by parasitic extended families and communities, which forces them to regroup. Before long, "outsiders" attack the now labile family unit, and any hope for ephemeral success fades. As the circles shift, they become eccentric—not sharing a center—but that is when the family power structure itself heaves and the larger communities to which they at that time belong cannot compensate, and all individuals suffer. When the family will not hold, the stress falls to the extended family or community. When that will not hold, the stress falls to opportunistic, evil, or incomprehensible outsiders, and when they attack the family, the basic, foundational community itself collapses, leaving unromantic ruin and chaos.
Suggests educators should help students read religious texts such as the Bible, the Torah, and the Koran and that they should teach ways to reflect critically on these texts. Discusses ways to teach ...the Bible. (SG)
This is the first critical study of director Frank Galati's stage work. An award-winning actor, an accomplished screenwriter and author, and a tenured professor of Performance Studies at Northwestern ...University, Galati is best known in the United States and in Europe as a director of plays, musicals, and opera. He began his theatrical career in the early 1970s and continues to work at a furious pace, directing three or more major productions a year. The author tackles the analytical problem of isolating one stage director's specific contribution to production first, by surveying thirty years of his theatrical career, second, by focusing on the complex relationships and shifting interactions that coalesce in the presence of an audience, and finally, by observation of his collaborative process and interviews with significant professional collaborators. Frank Galati is a consummate storyteller and an extravagant showman. His mise en scène is simultaneously illusionist (representational, fake real, eye-fooling) and theatrical (presentational, real fake, undisguised). Section I, “Production History: 1972–2000,” offers an overview of Galati's career, tracing the chronological development of his style and identifying certain recurring themes in the stories he tells, particularly his interest in mothers and the maternal project. In Section II, “Staging Stein and Steinbeck,” the author addresses Galati's showmanship, examining the structure and efficacy of the paradoxical and multi-stable co-presence of representation and presentation in two significant productions, She Always Said, ‘Pablo…” Goodman Theatre 1987) and The Grapes of Wrath (Steppenwolf Theatre 1988). Section III, “The Artist's Process,” looks at Galati in pre-production work with designers, choreographers, lyricists and composers, and in rehearsal with performers. This chapter depends on interviews with Galati's professional associates—actors, designers, producers, choreographers, and composers—with Galati himself, and on the author's first-hand observations of the process. Galati is among those contemporary theatre artists who work toward a high degree of shared agency in performance. The isolation and analysis of his artistic hand and sensibility in performance is intended to make his work available to scholars, cultural critics, and to theatre professionals interested in both understanding and expanding the possibilities of theatrical production and discourse.
Provider: HOPE - Heritage of the People's Europe - Institution: Archiv der sozialen Demokratie (AdsD) - Data provided by Europeana Collections- am Ausländerübergang Checkpoint Charlie;- All metadata ...published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: HOPE - Heritage of the People's Europe - Institution: Archiv der sozialen Demokratie (AdsD) - Data provided by Europeana Collections- John Steinbeck signiert am Ausländerübergang Checkpoint ...Charlie für Polizisten und Zollbeamte seine Bücher;- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: HOPE - Heritage of the People's Europe - Institution: Archiv der sozialen Demokratie (AdsD) - Data provided by Europeana Collections- All metadata published by Europeana are available free ...of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: HOPE - Heritage of the People's Europe - Institution: Archiv der sozialen Demokratie (AdsD) - Data provided by Europeana Collections- All metadata published by Europeana are available free ...of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
The celebrated Brazilian writer Alfredo de Freitas Dias Gomes is known not only for the acerbity of his socio-political satire during a difficult period in Brazilian governance, but also for his ...humor. The force of his political criticism could even be said to depend on this humor. Odorico Paraguaçu, the central character who comes his way through the multiform literary genres in Dias Gomes' oeuvre, is a major vehicle not only for Dias Gomes' satiric and comedic aims, but also for the author's literary and linguistic invention. This study looks at the development of Odorico Paraguaçu as a risible character, examining in detail the linguistic means which the author employs to create his character's idiosyncratic rhetorical style. These devices include word formation, construction of idioms, literary allusions, historical quotations, regionalisms, borrowing, to name only a few. Dias Gomes' control of this panoply of linguistic devices in the service of satire and farce is unparalleled in Brazilian literary history.
Sour Grapes in the Big Muddy
The Wilson quarterly (Washington),
07/2012, Letnik:
36, Številka:
3
Magazine Article
John Steinbeck befriended radical writer Lincoln Steffens, wrote speeches for Democratic presidential candidate Adlai Stevenson, and defended those who refused to testify before the House UnAmerican ...Activities Committee. Norman Mailer opted for a hipster tone: "Mr. J., Mr. L.B.J., Boss Man of Show Biz- I salute you in your White House Oval; I mean America will shoot all over the shithouse wall if this jazz goes on."
