"Picture yourself in my place": Fitzgerald em Hollywood

Esta dissertação estuda a intertextualidade entre as obras literárias de F. Scott Fitzgerald e a escrita para cinema nos anos formativos de Hollywood das décadas de 1920 e 30, assim como a influência da sétima arte n��o só nos romances de Fitzgerald, como em alguma literatura norte-americana da época. Por outro lado, considerando o trabalho de Fitzgerald como argumentista em Hollywood, analisa-se alguns dos guiões em que colaborou, comparando a linguagem cinematográfica da sua prosa com a literária do seu cinema. Na experiência e obra de Fitzgerald está representada uma questão paradigmática sobre a eterna relação de amor e ódio, influência e angústia, ou “angústia da influência” (para tomar emprestado o conceito de Harold Bloom), entre a literatura e o cinema, ao mesmo tempo que nos leva a parafrasear a pergunta de Michel Foucault: o que é um autor no cinema?

Rhetorical Topographies of Post-Earthquake L'Aquila: Locality, Activism, and Citizenship Engagement

Thesis (Ph.D.)--University of Washington, 2014

At the end of the day: Macmillan's account of the Cuban missile crisis

Pre-publicity for the final volume of Harold Macmillan���s memoirs, At the End of the Day, stressed that it would provide the British side of the Cuban missile crisis for the first time. The Churchillian model chosen, changes required by the Cabinet Office and Macmillan���s desire to rebuke those political opponents who claimed that the crisis demonstrated a lack of British influence in Washington, however ensured a focus on his personal relationship with President Kennedy. His larding the text with contemporary observations from his diaries also skewed Macmillan���s account and, in particular, underplayed the significance of British moves at the United Nations in New York to secure a credible United Nations inspection regime and a US guarantee of the inviolability of Cuba. Careful reconstruction of Macmillan���s real-time experience of the Cuban missile crisis demonstrates the limitations of his own account of this event

The battle of Cable Street

This witness seminar on the events in the East End of London of 4 October 1936, traditionally known as the ‘Battle of Cable Street’, was held at the Institute of Historical Research on 1 May 1991. It was chaired by Professor Geoffrey Alderman and introduced by Noreen Branson. The participants were Sid Bailey (former member of the BUF), Dr David Cesarani, Tony Gilbert, Charlie Goodman, Joyce Goodman, Professor Colin Holmes, Frank Lesser, Kevin Morgan (biographer of Harry Pollitt), Phil Piratin (Communist MP for Mile End 1945–50), Michael Quill, Jack Shaw, Harold Smith, Ronald F. Webb (former member of the BUF) and Len Wise (former member of the BUF). Yvonne Kapp was unable to attend but she sent a short account of her recollections of the event and this has been included with this transcript.

Reassessing the impact of yesterday's men

This special seminar to explore the controversy surrounding the Yesterday's Men programme of 1971, and its subsequent significance in the history of British political documentaries, was held at the Institute of Historical Research, London, on 26 January 1994. The seminar opened with a re‐screening of the programme, which featured interviews with Harold Wilson, the then leader of the opposition to Edward Heath's new Conservative government, front bench opposition spokesmen including Roy Jenkins, Tony Crosland and Denis Healey, and the political correspondent Peter Jenkins. The discussion was introduced by Dr Jean Seaton and chaired by Professor Peter Hennessy. The principal participants were Joe Haines (Chief Press Secretary to Harold Wilson 1969–76), Brian Wenham (editor, Panorama 1969–71, Head of BBC Current Affairs Group 1971–78) and John Grist (Head of BBC Current Affairs Group 1967–71, Controller, BBC English Regions 1972–77), with further contributions from Philip Whitehead, Professor Ben Pimlott, Peter Rose, David Benn, Professor Colin Seymour‐Ure, Joanna Kayford, Rosaleen Hughes, Hugh Purcell, Murray Weston and Chloe Miller.

Somewhere near reality: artistic portrayal of violence in post WWII British realistic drama

ABSTRACT - I will explore and present the portrayal of violence in some British plays that were staged between 1951 and 1965, in order to discuss the role, impact and aim of its representation. Thus, I will consider John Whiting’s Saint’s Day (1951), Ann Jelicoe’s The Sport of my Mad Mother (1956), Arnold Wesker (Chicken Soup with Barley (1958), Harold Pinter’s Birthday Party (1958), David Rudkin���s Afore Night Come (1962) and Edward Bond’s Saved (1965). My aim is to discuss the way how theatre in the post WWII changed the traditional ways of representing violence. On one hand, violence and reality became more and more familiar and domestic, permitting a representation of multiple and non-agonic violence; and, on the other hand, the violence that was depicted often changed the way one perceived reality itself, being part of a socially engaged artistic attitude.

[4 lettres de Juliette Adam à Jules Massenet, 1888-1909]

3 lettres et 1 carte de correspondance

[Lettre d'Arthur Bern��de à Jules Massenet, [1909]] (photocopie)

F.1 : daté d'après le contenu de la lettre : " pour la millième de Cendrillon " : 1909 : fin des représentations à l'opéra-comique : http://www.lejdd.fr/Culture/Spectacle/Actualite/La-critique-de-Cendrillon-dans-le-JDD-281117 : plus de 50 représentations avant la fin de l'année 1899 et fréquemment joué des deux côtés de l'Atlantique dès les 15 premières années : source : Grove Cendrillon Massenet