The Aesthetic Uncanny: Staging Dorian Gray

This article discusses my theatrical adaptation of Oscar Wilde's The Picture of Dorian Gray (1891) for the Edinburgh Festival Fringe (2008). Freud's concept of the uncanny (1919) was treated as a purely aesthetic phenomenon and related to late nineteenth century social and literary preoccupations such as Christianity, the supernatural and glamorous, criminal homosexuality. These considerations led to a conceptual ground plan that allowed for experiments during rehearsal in a form of theatrical shorthand

The eighteenth-century review journal as allegory: Smollett’s <i>Critical Review</i> and the work of criticism

One way to read an eighteenth-century review journal would be for the critical judgments that it contains. This essay argues, instead, that it should be read as allegory. The essay focuses on the Critical Review, established by Tobias Smollett in 1756, with the (impossible) aim to review everything, and explores how it appears both as what it is and in what it is not. Placed alongside Smollett’s other works of instalment and translation, what is disclosed by the Critical Review is a new work: the work of criticism itself

Engagements chorégraphiques : danse, féminisme et politique

12 pages(interligne 1)Dans le domaine chorégraphique, faire acte de création pour une femme, c'est-à-dire maîtriser le corps, ses représentations, la mise en scène des rapports sociaux de sexe, l'espace scénique public, la production, imposer une esthétique nouvelle ... fut d'emblée aussi un acte politique. A la fin du XIXe et au début du XXe siècle, l'apparition de la danse moderne, portée presque exclusivement par des femmes qui s'imposent alors comme créatrices et théoriciennes, correspond à l'accession de la danse au statut d'art autonome, et à son implication dans la vie sociale. J'expose tout d'abord exposer les liens que les premières générations (de Loïe Fuller et Isadora Duncan à Martha Graham et Katherine Dunham) ont entretenu, explicitement ou implicitement, avec le féminisme et avec d'autres mouvements politiques. Puis j'examine la façon dont l'histoire de la danse a retenu, occulté ou réécrit ces engagements, dans le contexte culturel spécifiquement français. Enfin, je m'interroge sur la production chorégraphique actuelle, en France, autour des questions de genre et sexualité, pour rechercher la place des questionnements féministes et la façon dont les rapports sociaux de sexe sont abordés dans les représentations actuelles et les discours qui les soutiennent

Ireland's America: a case study of Sheridan's In America (2002) and Get Rich or Die Tryin (2005)

Jim Sheridan is one of the fathers of Irish national cinema with Oscar-winning films including My Left Foot (1990) and powerful nation building narratives like The Field (1990) and In the Name of the Father (1993). His recent work has tried to become more internationally appealing with an evocative study of Irish emigrants in America and most controversially his recent biopic of the internationally known black rapper, 50 cent. By examining In America and Get Rich or Die Tryin this article will assess how Sheridan adapts his Irish preoccupations while trying to take on Hollywood. More than any other Irish director, Sheridan uses family, race, otherness, and Americana, in general, to dramatise Ireland’s affinity with America

This Is a Man's World: Drag Kings and the Female Embodiment of Masculinity

Portrayals of non-heteronormative characters have been more and more present in the mass media since the last decades of the 20th century. Gay and lesbian characters are now part of mainstream media in films, sitcoms, drama series, talk shows, etc. Apparently, this could mean that non-heteronormative identities and desires are tolerated by the general audience but this might be just so as long as these characters behave according to heteronormative standards of normality or their bodies are easily readable. The presence of trans, drags or genderqueer characters is minimal and with it the potential subversion of the heteronormative matrix. However, not all drag is subversive and therefore an inappropriate reading or decoding could end up reinforcing the same normative gender identities they intend to subvert. To understand the potential subversion of non-heteronormative characters this paper aims to analyze briefly the re/conceptualization of performativity in the work of Judith Butler, the representation of drag as a parody of gender performance, the female embodiment of masculinity and its representation in popular culture

Klondyke : une tentative de créer une dramaturgie nationale

Cet article examine de plusieurs points de vue la production expérimentale de 1964 du Théâtre du Nouveau Monde (presque oubliée aujourd’hui) de Klondyke. Premièrement, il traite de cette production comme une expérience de « création collective », bien que ni le terme ni le concept ne soit encore passé dans la pratique théâtrale au Québec. Deuxièmement, il envisage la création de ce spectacle comme la réalisation du désir de Jean Gascon, le metteur en scène, de créer une oeuvre canadienne-française originale et authentique. Et finalement, il analyse la contribution de la pièce au théâtre musical.This article examines Montreal's Théâtre du Nouveau Monde's 1964 experimental—if now half-forgotten—production of Klondyke from several points of view. First, as an exploration of "collective creation," although neither the term nor the concept had yet entered theatre practice in Quebec. Secondly, as the fulfillment of director Jean Gascon's desire to create an original and authentic "French-Canadian" work. And lastly, it analyzes the play's contribution to musical theatre

The Plains of Mars, European War Prints, 1500-1825

Over fifty original prints by renowned artists from the sixteenth through the early nineteenth century, including Albrecht Dürer, Lucas Cranach, Théodore Géricault, and Francisco de Goya, among many others, are featured inThe Plains of Mars: European War Prints, 1500-1825. On loan from the Sarah Campbell Blaffer Foundation at the Museum of Fine Arts, Houston, the works of art included in this exhibition examine the topics of war and peace, propaganda, heroism, brutal conflicts, and the harrowing aftermath of battle. Spanning from the Renaissance to the Romantic periods and encompassing a wide geographic scope including Italy, Germany, France, Spain, the Low Countries, England, and North America, the prints depict triumphant Renaissance soldiers, devastating scenes of violence, and satirical caricatures of political figures. Also on display is Goya’s compelling “Disasters of War” series, completed in response to the brutality of the Spanish War of Independence. Goya’s prints serve as a powerful testament to the horrors faced by both soldiers and civilians. Under the direction of Professor Felicia Else and Shannon Egan, Melissa Casale ‘19 and Bailey Harper ‘19 have researched and written didactic labels, catalogue essays, and created an interactive digital interface to complement the exhibition. Together, Melissa and Bailey will lead public tours of the exhibition. A Gallery Talk by Prof. Peter Carmichael will draw connections between the depictions of warfare on view in the Gallery with representations of the American Civil War. James Clifton, Director of the Sarah Campbell Blaffer Foundation at the Museum of Fine Arts, Houston, will be delivering a lecture in conjunction with the exhibition. Dr. Clifton, who also serves as curator of Renaissance and Baroque painting at MFAH, curated the exhibition in its first iteration and wrote the exhibition catalogue (published by Yale University Press). Dr. Clifton’s lecture not only will provide an overview of the exhibition, but also will focus on the concept of “mediated war.” A full-color catalogue with images and essays by Bailey Harper ’19 and Melissa Casale ’19, under the supervision of Profs. Felicia Else and Shannon Egan, is planned to accompany the exhibition.https://cupola.gettysburg.edu/artcatalogs/1028/thumbnail.jp

Spartan Daily, March 9, 1972

Volume 59, Issue 77https://scholarworks.sjsu.edu/spartandaily/5591/thumbnail.jp

Bulletin of the Center for Children's Books 53 (10) 2000

published or submitted for publicatio