Steve Moore Screener
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- Duration: 3:10
- Published: 15 Oct 2007
- Uploaded: 03 Mar 2011
- Author: maddrummerinc
Steve Moore Screener
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Screener
A screener (SCR) is an advance screening of a film sent to critics, awards voters, video stores (for their manager and employees), and other film industry professionals, including producers and distributors. A screener often has no post-processing.
Indie Film Makers win screener ban battle against MPAA
Warner Bros cancels promo screeners
Movie screener download and film streaming site - FBIscreeners.com
In 2003, the MPAA announced that they would be ceasing distribution of screeners to Academy members, citing fears of piracy. A group of independent film makers sued and won a decision against the MPAA. The MPAA later reinstated the screeners with the implementation of a new policy requiring recipients to sign a binding contract that they would not share the screeners with others.
In January 2004, Academy member Carmine Caridi was announced as a person of interest in an ongoing FBI investigation into video piracy. He was subsequently expelled from the Academy after he was found to have sent close to 300 screeners to a contact called Russell Sprague in Illinois, over a five year period. He was later ordered to pay Warner Brothers for copyright infringement of two of their films, Mystic River and The Last Samurai, a total of $300,000 ($150,000 per title).
In November 2010, Film Bank International LLC or on the web www.FBIscreeners.com, unveiled their way of addressing piracy and unauthorized digital distribution. FBIscreeners.com is able to distribute (SCR) movies, promos and television screeners through protected download links that individually watermark a screener with the recipients name and company while adding a unique traceable security signature embedded within the audio and video tracks. Their Website gives the user a choice to send the recipient a file to download or a streaming link to view the personalized watermarked screener.
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This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
Steve Moore
| Position | Centre |
|---|---|
| Played for | Colorado Avalanche |
| Shot | Right |
| Height ft | 6 |
| Height in | 2 |
| Weight lb | 210 |
| Nationality | CAN |
| Birth date | September 22, 1978 |
| Birth place | Thornhill, ON, CAN |
| Draft | 53rd overall |
| Draft year | 1998 |
| Draft team | Colorado Avalanche |
| Career start | 2001 |
| Career end | 2004 |
Moore Brothers
Steven Dean Moore, his older brother, Mark, and younger brother, Dominic, all played four years at Harvard University. Because of their relative closeness in age, all three were able to play in the same year for Harvard during the 1999–2000 season. Dominic also went on to play in the NHL.NHL playing career
He was drafted by the Colorado Avalanche in the 1998 NHL Entry Draft in the second round, being 53rd pick overall. Moore played in 69 games for the Avalanche from 2001 to 2004, scoring five goals and seven assists before being seriously injured by Todd Bertuzzi who at the time played for the Vancouver Canucks (see below).Due to continued post-concussion syndrome, Colorado opted not to give him a qualifying offer after his rookie contract expired, and he has had minimal contact with the Avalanche ever since. Moore also turned down a two-way contract from the Anaheim Ducks.
The Bertuzzi incident
On February 16, 2004, during a Vancouver-Colorado game, Moore injured Canucks team captain Markus Näslund while Näslund was reaching for a puck through center ice with his head down. Moore's shoulder contacted Näslund's head in the play. No penalty was called in connection with the hit, but Näslund suffered a concussion and a bone chip in his elbow as a result, and missed three games. The NHL ruled that the hit was legal and did not fine or suspend Moore. Canucks head coach Marc Crawford and general manager Brian Burke publicly criticized the non-call by the referees on the incident. Vancouver players indicated that they would get even with Moore, with left winger Brad May stating that he would put a bounty on Moore's head.During the next game between the Canucks and Avalanche held in Denver, NHL commissioner Gary Bettman and NHL executive vice-president Colin Campbell attended the game, which ended in a tie and saw no major incidents break out.
However, on March 8, 2004, during another rematch between the Avalanche and Canucks, things went differently. In the first period, Moore fought Vancouver player Matt Cooke in a fairly even brawl, and served the 5-minute penalty for fighting. The Avalanche would go on to build up a large lead in a fight-filled game. Late in the third period, Todd Bertuzzi was sent onto the ice. After failing to instigate Moore to fight, Bertuzzi skated after him and punched Moore in the head from behind and falling upon him along with several other players from both teams. Moore's head was driven into the ice during the fall, causing three fractured neck vertebrae, facial cuts and a concussion. Moore was knocked out, and lay motionless for ten minutes before being carried off on a stretcher.
Bertuzzi was immediately suspended indefinitely by the NHL. The suspension also barred him from playing in any international tournaments or leagues during the 2004–05 NHL lockout. Commissioner Gary Bettman reinstated Bertuzzi for the 2005–06 season.
On August 22, 2004, Moore was released from a Denver-area hospital. He wore a neck brace for one year and then started physical therapy for his neck injury and concussion.
On February 17, 2005, Bertuzzi was named in a lawsuit filed by Moore, who has not played at all since the injury. Also named were Brad May (who was quoted as saying that there would "definitely be a price on Moore's head" after the game), Brian Burke and the Canucks team. The lawsuit was thrown out in October 2005, as the Colorado judge felt that British Columbia was a better venue for the suit. Moore plans to appeal the lawsuit.
On August 8, 2005, the NHL announced that Bertuzzi would be allowed to play again at the start of the 2005–06 NHL season. In the league's decision, they cited many reasons for ending the suspension, such as: Bertuzzi serving a suspension of 20 games, which at the time tied for 4th longest in NHL history (13 regular season games, 7 playoff games)
On August 12, 2005, Brian Burke, formerly Vancouver's general manager who was now serving in the same capacity with the Anaheim Ducks, had made an offer to Moore. It was a two-way contract that would have paid Moore $475,000 US in the NHL and $75,000 if the player suited up for Portland, the American Hockey League affiliate. Moore's lawyer Tim Danson objected that Moore was considered a minor league player by Burke. Danson also described the offer as a self-serving attempt to mitigate potential legal damages, saying that Moore wasn't medically cleared to play hockey and describing it as adding insult to injury.
On November 8, 2005, Moore's Toronto-based lawyer, Tim Danson, said that Moore was skating and doing regular workouts, but continued to suffer concussion-related symptoms.
NHL commissioner Gary Bettman attempted to get Bertuzzi and Moore to agree on an out-of-court settlement in the CAD$19.5 million lawsuit filed by Moore. Bertuzzi offered $350,000 to settle the case, an amount which was called "an insult" by Moore's lawyer.
On March 28, 2008, Bertuzzi filed a lawsuit against Crawford, alleging that he was contractually obliged to obey Crawford and that therefore Crawford shares responsibility for the injury to Moore. In response, Crawford later stated that Bertuzzi acted in "direct disobedience" to orders from the bench to get off the ice before attacking Moore. The case with Bertuzzi, the Canucks and Crawford all as defendants is still pending and is expected to be heard towards the end of 2010.
Career statistics
{| BORDER="0" CELLPADDING="1" CELLSPACING="0" width="75%" style="text-align:center" |- bgcolor="#e0e0e0" ! colspan="3" bgcolor="#ffffff" | ! rowspan="99" bgcolor="#ffffff" | ! colspan="5" | Regular season ! rowspan="99" bgcolor="#ffffff" | ! colspan="5" | Playoffs |- bgcolor="#e0e0e0" ! Season ! Team ! League ! GP !! G !! A !! Pts !! PIM ! GP !! G !! A !! Pts !! PIM |- | 1995–96 | Thornhill Islanders | MetJHL | 50 || 25 || 27 || 52 || 57 | 18 || 4 || 5 || 9 || — |- bgcolor="#f0f0f0" | 1996–97 | Thornhill Islanders | MetJHL | 50 || 34 || 52 || 86 || 52 | 13 || 10 || 11 || 21 || 2 |- | 1997–98 | Harvard University | ECAC | 33 || 10 || 23 || 33 || 46 | — || — || — || — || — |- bgcolor="#f0f0f0" | 1998–99 | Harvard University | ECAC | 30 || 18 || 13 || 31 || 34 | — || — || — || — || — |- | 1999–00 | Harvard University | ECAC | 27 || 10 || 16 || 26 || 53 | — || — || — || — || — |- bgcolor="#f0f0f0" | 2000–01 | Harvard University | ECAC | 32 || 7 || 26 || 33 || 43 | — || — || — || — || — |- | 2001–02 | Hershey Bears | AHL | 68 || 10 || 17 || 27 || 31 | 8 || 0 || 1 || 1 || 6 |- bgcolor="#f0f0f0" | 2001–02 | Colorado Avalanche | NHL | 8 || 0 || 0 || 0 || 4 | — || — || — || — || — |- | 2002–03 | Hershey Bears | AHL | 58 || 10 || 13 || 23 || 41 | 5 || 0 || 1 || 1 || 4 |- bgcolor="#f0f0f0" | 2002–03 | Colorado Avalanche | NHL | 4 || 0 || 0 || 0 || 0 | — || — || — || — || — |- | 2003–04 | Hershey Bears | AHL | 13 || 4 || 4 || 8 || 6 | — || — || — || — || — |- bgcolor="#f0f0f0" | 2003–04 | Colorado Avalanche | NHL | 57 || 5 || 7 || 12 || 37 | — || — || — || — || — |- bgcolor="#e0e0e0" ! colspan="3" | NHL totals ! 69 !! 5 !! 7 !! 12 !! 41 ! — !! — !! — !! — !! — |}See also
References
External links
Category:1978 births Category:Living people Category:Canadian ice hockey centres Category:Colorado Avalanche draft picks Category:Colorado Avalanche players Category:Harvard Crimson men's ice hockey players Category:Hershey Bears players Category:Ice hockey personnel from Ontario Category:People from Windsor, Ontario Category:Sportspeople from Ontario Category:Violence in sports
This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
Jean-Paul Sartre
| Region | Western Philosophy |
|---|---|
| Era | 20th-century philosophy |
| Color | # |
| Name | Jean-Paul Charles Aymard Sartre |
| Birth date | 21 June 1905 |
| Birth place | Paris, France |
| Death date | April 15, 1980 |
| Death place | Paris, France |
| School tradition | Existentialism, Continental philosophy, Marxism |
| Main interests | Metaphysics, Epistemology, Ethics, Politics, Phenomenology, Ontology |
| Influences | Plato, St. Augustine of Hippo, Hegel, Schopenhauer, Marx, Mao, Dostoyevsky, Kierkegaard, Jean-Jacques Rousseau, Nietzsche, Husserl, Heidegger, Jaspers, De Beauvoir, Camus, Kojève, Flaubert, Céline, Merleau-Ponty, Dos Passos, Freud, Voltaire |
| Influenced | De Beauvoir, Merleau-Ponty, Che Guevara, Frantz Fanon, R. D. Laing, Iris Murdoch, André Gorz, Alain Badiou, Fredric Jameson, Michael Jackson, Albert Camus, Kenzaburo Oe, Doris Lessing, William Burroughs, Roberto Mangabeira Unger, Michel Foucault |
| Notable ideas | Existence precedes essence, Bad faith, Nothingness |
Jean-Paul Charles Aymard Sartre (, ; 21 June 1905 – 15 April 1980) was a French existentialist philosopher, playwright, novelist, screenwriter, political activist, biographer, and literary critic. He was one of the leading figures in 20th century French philosophy, existentialism, and Marxism, and his work continues to influence fields such as Marxist philosophy, sociology, critical theory and literary studies. Sartre was also noted for his long polyamorous relationship with the feminist author and social theorist, Simone de Beauvoir. He was awarded the 1964 Nobel Prize in Literature but refused the honour.
Biography
Early life and thought
Jean-Paul Sartre was born in Paris as the only child of Jean-Baptiste Sartre, an officer of the French Navy, and Anne-Marie Schweitzer. His mother was of Alsatian origin and the first cousin of Nobel Prize laureate Albert Schweitzer. (Her father, Charles Schweitzer, was the older brother of Albert Schweitzer's father, Louis Théophile.) When Sartre was 15 months old, his father died of a fever. Anne-Marie moved back to her parents' house in Meudon, where Sartre was raised with help from her father, a professor of German, who taught Sartre mathematics and introduced him to classical literature at a very early age. At twelve his mother remarried and the family moved to La Rochelle, where he was frequently bullied.As a teenager in the 1920s, Sartre became attracted to philosophy upon reading Henri Bergson's Essay on the Immediate Data of Consciousness. He studied and earned a doctorate in philosophy in Paris at the École Normale Supérieure, an institution of higher education that was the alma mater for several prominent French thinkers and intellectuals. It was at ENS that Sartre began his life-long, sometimes fractious, friendship with Raymond Aron. Sartre was influenced by many aspects of Western philosophy, absorbing ideas from Kant, Hegel, Kierkegaard, Husserl and Heidegger, among others. In 1929 at the École Normale, he met Simone de Beauvoir, who studied at the Sorbonne and later went on to become a noted philosopher, writer, and feminist. The two became inseparable and lifelong companions, initiating a romantic relationship, though they were not monogamous. Sartre served as a conscript in the French Army from 1929 to 1931 and he later argued in 1959 that each French person was responsible for the collective crimes during the Algerian War of Independence.
Together, Sartre and de Beauvoir challenged the cultural and social assumptions and expectations of their upbringings, which they considered bourgeois, in both lifestyle and thought. The conflict between oppressive, spiritually destructive conformity (mauvaise foi, literally, "bad faith") and an "authentic" way of "being" became the dominant theme of Sartre's early work, a theme embodied in his principal philosophical work L'Être et le Néant (Being and Nothingness) (1943). Sartre's introduction to his philosophy is his work Existentialism is a Humanism (1946), originally presented as a lecture.
Sartre and World War II
In 1939 Sartre was drafted into the French army, where he served as a meteorologist. He was captured by German troops in 1940 in Padoux, and he spent nine months as a prisoner of war — in Nancy and finally in Stalag 12D, Trier, where he wrote his first theatrical piece, Barionà, fils du tonnerre, a drama concerning Christmas. It was during this period of confinement that Sartre read Heidegger's Sein und Zeit (Being and Time), later to become a major influence on his own essay on phenomenological ontology. Because of poor health (he claimed that his poor eyesight and exotropia affected his balance) Sartre was released in April 1941. Given civilian status, he recovered his position as a teacher at Lycée Pasteur near Paris, settled at the Hotel Mistral near Montparnasse in Paris, and was given a new position at Lycée Condorcet, replacing a Jewish teacher who had been forbidden to teach by Vichy law.After coming back to Paris in May 1941, he participated in the founding of the underground group Socialisme et Liberté with other writers Simone de Beauvoir, Merleau-Ponty, Jean-Toussaint Desanti and his wife Dominique Desanti, Jean Kanapa, and École Normale students. In August, Sartre and Beauvoir went to the French Riviera seeking the support of André Gide and André Malraux. However, both Gide and Malraux were undecided, and this may have been the cause of Sartre's disappointment and discouragement. Socialisme et liberté soon dissolved and Sartre decided to write, instead of being involved in active resistance. He then wrote Being and Nothingness, The Flies, and No Exit, none of which was censored by the Germans, and also contributed to both legal and illegal literary magazines.
After August 1944 and the Liberation of Paris, he wrote Anti-Semite and Jew. In the book he tries to explain the etiology of "hate" by analyzing so-called antisemitic hate. Sartre was a very active contributor to Combat, a newspaper created during the clandestine period by Albert Camus, a philosopher and author who held similar beliefs. Sartre and Beauvoir remained friends with Camus until 1951, after the publication of Camus' The Rebel. Later, while Sartre was labeled by some authors as a resistant, the French philosopher and resistant Vladimir Jankelevitch criticized Sartre's lack of political commitment during the German occupation, and interpreted his further struggles for liberty as an attempt to redeem himself. According to Camus, Sartre was a writer who resisted, not a resistor who wrote.
After the war ended Sartre established Les Temps Modernes (Modern Times), a quarterly literary and political review, and started writing full-time as well as continuing his political activism. He would draw on his war experiences for his great trilogy of novels, Les Chemins de la Liberté (The Roads to Freedom) (1945–1949).
Politics
(left) meeting with Che Guevara (right) in Cuba, 1960]] The first period of Sartre's career, defined in large part by Being and Nothingness (1943), gave way to a second period as a politically engaged activist and intellectual. His 1948 work Les Mains Sales (Dirty Hands) in particular explored the problem of being both an intellectual at the same time as becoming "engaged" politically. He embraced Marxism (but didn't join the Communist Party) and took a prominent role in the struggle against French rule in Algeria. He became perhaps the most eminent supporter of the FLN in the Algerian War and was one of the signatories of the Manifeste des 121. Furthermore, he had an Algerian mistress, Arlette Elkaïm, who became his adopted daughter in 1965. He opposed the Vietnam War and, along with Bertrand Russell and others, organized a tribunal intended to expose U.S. war crimes, which became known as the Russell Tribunal in 1967.His major defining work after 1955, the Critique de la raison dialectique (Critique of Dialectical Reason) appeared in 1960 (a second volume appeared posthumously). In Critique, Sartre set out to give Marxism a more vigorous intellectual defense than it had received up until then; he ended by concluding that Marx's notion of "class" as an objective entity was fallacious. Sartre's emphasis on the humanist values in the early works of Marx led to a dispute with a leading leftist intellectual in France in the 1960s, Louis Althusser, who claimed that the ideas of the young Marx were decisively superseded by the "scientific" system of the later Marx.
Sartre went to Cuba in the '60s to meet Fidel Castro and spoke with Ernesto "Che" Guevara. After Guevara's death, Sartre would declare him to be "not only an intellectual but also the most complete human being of our age" and the "era's most perfect man." Sartre would also compliment Che Guevara by professing that "he lived his words, spoke his own actions and his story and the story of the world ran parallel."
During a collective hunger strike in 1974, Sartre visited Red Army Faction leader Andreas Baader in Stammheim Prison and criticized the harsh conditions of imprisonment.
Late life and death
's house in Goxwiller, where Sartre tried to hide from the media after being awarded the Nobel Prize.]] In 1964, Sartre renounced literature in a witty and sardonic account of the first ten years of his life, Les mots (Words). The book is an ironic counterballast to Marcel Proust, whose reputation had unexpectedly eclipsed that of André Gide (who had provided the model of littérature engagée for Sartre's generation). Literature, Sartre concluded, functioned ultimately as a bourgeois substitute for real commitment in the world. In October 1964, Sartre was awarded the Nobel Prize in Literature but he declined it. He was the first Nobel Laureate to voluntarily decline the prize, and he had previously refused the Légion d'honneur, in 1945. The prize was announced on 22 October 1964; on 14 October, Sartre had written a letter to the Nobel Institute, asking to be removed from the list of nominees, and that he would not accept the prize if awarded, but the letter went unread; on 23 October, Le Figaro published a statement by Sartre explaining his refusal. He said he did not wish to be "transformed" by such an award, and did not want to take sides in an East vs. West cultural struggle by accepting an award from a prominent Western cultural institution. In 1975, when asked how he would like to be remembered, Sartre replied:I would likeSartre's physical condition deteriorated, partially because of the merciless pace of work (and using drugs for this reason, e.g., amphetamine) he put himself through during the writing of the Critique and a massive analytical biography of Gustave Flaubert (The Family Idiot), both of which remained unfinished. Sartre became almost completely blind in 1973.[people] to remember Nausea,[my plays] No Exit and The Devil and the Good Lord, and then my two philosophical works, more particularly the second one, Critique of Dialectical Reason. Then my essay on Genet, Saint Genet...If these are remembered, that would be quite an achievement, and I don't ask for more. As a man, if a certain Jean-Paul Sartre is remembered, I would like people to remember the milieu or historical situation in which I lived,...how I lived in it, in terms of all the aspirations which I tried to gather up within myself.
He died 15 April 1980 in Paris from edema of the lung.
Sartre lies buried in Cimetière de Montparnasse in Paris. His funeral was well attended, with estimates of the number of mourners along the two hour march ranging from 15,000 to over 50,000.
Thought
The basis of Sartre's existentialism can be found in The Transcendence of the Ego in which he says that the thing-in-itself is infinite and overflowing. Sartre refers to any direct consciousness of the thing-in-itself as a "pre-reflective consciousness." Any attempt to describe, understand, historicize etc. the thing-in-itself, Sartre calls "reflective consciousness." There is no way for the reflective consciousness to subsume the pre-reflective, and so reflection is fated to a form of anxiety, i.e. the human condition. The reflective consciousness in all its forms, (scientific, artistic or otherwise) can only limit the thing-in-itself by virtue of its attempt to understand or describe it. It follows, therefore, that any attempt at self-knowledge (self-consciousness—a reflective consciousness of an overflowing infinite) is a construct that fails no matter how often it is attempted. Consciousness is consciousness of itself insofar as it is consciousness of a transcendent object.The same holds true about knowledge of the "Other". The "Other" (meaning simply beings or objects that are not the self) is a construct of reflective consciousness. A volitional entity must be careful to understand this more as a form of warning than as an ontological statement. However, there is an implication of solipsism here that Sartre considers fundamental to any coherent description of the human condition. Sartre overcomes this solipsism by a kind of ritual. Self consciousness needs "the Other" to prove (display) its own existence. It has a "masochistic desire" to be limited, i.e. limited by the reflective consciousness of another subject. This is expressed metaphorically in the famous line of dialogue from No Exit, "Hell is other people."
The main idea of Jean-Paul Sartre is that we are, as humans, "condemned to be free." This theory relies upon his belief that there is no creator, and is formed using the example of the paper knife. Sartre says that if one considered a paper knife, one would assume that the creator would have had a plan for it: an essence. Sartre said that "existence precedes essence".
Authenticity and Individuality
Sartre maintained that the concept of authenticity and individuality have to be earned but not learned. We need to experience death consciousness so as to wake up ourselves as to what is really important; the authentic in our lives which is life experience, not knowledge.La Nausée and existentialism
As a junior lecturer at the Lycée du Havre in 1938, Sartre wrote the novel La Nausée (Nausea) which serves in some ways as a manifesto of existentialism and remains one of his most famous books. Taking a page from the German phenomenological movement, he believed that our ideas are the product of experiences of real-life situations, and that novels and plays can well describe such fundamental experiences, having equal value to discursive essays for the elaboration of philosophical theories such as existentialism. With such purpose, this novel concerns a dejected researcher (Roquentin) in a town similar to Le Havre who becomes starkly conscious of the fact that inanimate objects and situations remain absolutely indifferent to his existence. As such, they show themselves to be resistant to whatever significance human consciousness might perceive in them.This indifference of "things in themselves" (closely linked with the later notion of "being-in-itself" in his Being and Nothingness) has the effect of highlighting all the more the freedom Roquentin has to perceive and act in the world; everywhere he looks, he finds situations imbued with meanings which bear the stamp of his existence. Hence the "nausea" referred to in the title of the book; all that he encounters in his everyday life is suffused with a pervasive, even horrible, taste — specifically, his freedom. The book takes the term from Friedrich Nietzsche's Thus Spoke Zarathustra, where it is used in the context of the often nauseating quality of existence. No matter how much Roquentin longs for something else or something different, he cannot get away from this harrowing evidence of his engagement with the world. The novel also acts as a terrifying realization of some of Kant's fundamental ideas; Sartre uses the idea of the autonomy of the will (that morality is derived from our ability to choose in reality; the ability to choose being derived from human freedom; embodied in the famous saying "Condemned to be free") as a way to show the world's indifference to the individual. The freedom that Kant exposed is here a strong burden, for the freedom to act towards objects is ultimately useless, and the practical application of Kant's ideas proves to be bitterly rejected.
Sartre and literature
Sartre's views were counterposed to those of Albert Camus in the popular imagination. In 1948, the Roman Catholic Church placed his complete works on the Index of prohibited books (The Church opposed Marxism at this time and many Christians consider the precepts of Marxism to be fundamantally blasphemous). Most of his plays are richly symbolic and serve as a means of conveying his philosophy. The best-known, Huis-clos (No Exit), contains the famous line "L'enfer, c'est les autres," usually translated as "Hell is other people."Aside from the impact of Nausea, Sartre's major contribution to literature was The Roads to Freedom trilogy which charts the progression of how World War II affected Sartre's ideas. In this way, Roads to Freedom presents a less theoretical and more practical approach to existentialism.
Sartre as a public intellectual
at the Balzac Memorial ]] While the broad focus of Sartre's life revolved around the notion of human freedom, he began a sustained intellectual participation in more public matters in 1945. Prior to this—before the Second World War—he was content with the role of an apolitical liberal intellectual: "Now teaching at a lycée in Laon [...] Sartre made his headquarters the Dome café at the crossing of Montparnasse and Raspail boulevards. He attended plays, read novels, and dinedSartre portrayed his own pre-war situation in the character Mathieu, chief protagonist in The Age of Reason, which was completed during Sartre's first year as a soldier in the Second World War. By forging Mathieu as an absolute rationalist, analyzing every situation, and functioning entirely on reason, he removed any strands of authentic content from his character and as a result, Mathieu could "recognize no allegiance except to [him]self" (Sartre 1942: 13), though he realized that without "responsibility for my own existence, it would seem utterly absurd to go on existing" (Sartre 1942: 14). Mathieu's commitment was only to himself, never to the outside world. Mathieu was restrained from action each time because he had no reasons for acting. Sartre then, for these reasons, was not compelled to participate in the Spanish Civil War, and it took the invasion of his own country to motivate him into action and to provide a crystallization of these ideas. It was the war that gave him a purpose beyond himself, and the atrocities of the war can be seen as the turning point in his public stance.
The war opened Sartre's eyes to a political reality he had not yet understood until forced into continual engagement with it: "the world itself destroyed Sartre's illusions about isolated self-determining individuals and made clear his own personal stake in the events of the time" (Aronson 1980: 108). Returning to Paris in 1941 he formed the "Socialisme et Liberté" resistance group. In 1943, after the group disbanded, Sartre joined a writers' Resistance group, in which he remained an active participant until the end of the war. He continued to write ferociously, and it was due to this "crucial experience of war and captivity that Sartre began to try to build up a positive moral system and to express it through literature" (Thody 1964: 21).
The symbolic initiation of this new phase in Sartre’s work is packaged in the introduction he wrote for a new journal, Les Temps Modernes, in October 1945. Here he aligned the journal, and thus himself, with the Left and called for writers to express their political commitment (Aronson 1980: 107). Yet, this alignment was indefinite, directed more to the concept of the Left than a specific party of the Left.
Sartre's philosophy lent itself to his being a public intellectual. He envisaged culture as a very fluid concept; neither pre-determined, nor definitely finished; instead, in true existential fashion, "culture was always conceived as a process of continual invention and re-invention". This marks Sartre, the intellectual, as a pragmatist, willing to move and shift stance along with events. He did not dogmatically follow a cause other than the belief in human freedom, preferring to retain a pacifist's objectivity. It is this over-arching theme of freedom that means his work "subverts the bases for distinctions among the disciplines" (Kirsner 2003: 13). Therefore, he was able to hold knowledge across a vast array of subjects: "the international world order, the political and economic organisation of contemporary society, especially France, the institutional and legal frameworks that regulate the lives of ordinary citizens, the educational system, the media networks that control and disseminate information. Sartre systematically refused to keep quiet about what he saw as inequalities and injustices in the world" (Scriven 1999: xii).
Sartre always sympathized with the left, and supported the French Communist Party (PCF) until the 1956 Soviet invasion of Hungary. Following the Liberation the PCF were infuriated by Sartre's philosophy, which appeared to lure young French men and women away from the ideology of communism and into Sartre’s own existentialism (Scriven 1999: 13). From 1956 onwards Sartre rejected the claims of the PCF to represent the French working classes, objecting to its authoritarian tendencies. In the late 1960s Sartre supported the radical left, then known as "Maoists," a movement that rejected the authority of established communist parties (http://plato.stanford.edu/entries/sartre/).
In the aftermath of a war that had for the first time properly engaged Sartre in political matters, he set forth a body of work which "reflected on virtually every important theme of his early thought and began to explore alternative solutions to the problems posed there" (Aronson 1980: 121). The greatest difficulties that he and all public intellectuals of the time faced were the increasing technological aspects of the world that were outdating the printed word as a form of expression. In Sartre's opinion, the "traditional bourgeois literary forms remain innately superior", but there is "a recognition that the new technological 'mass media' forms must be embraced" if Sartre's ethical and political goals as an authentic, committed intellectual are to be achieved: the demystification of bourgeois political practices and the raising of the consciousness, both political and cultural, of the working class. (Scriven 1993: 8). The struggle for Sartre was against the monopolising moguls who were beginning to take over the media and destroy the role of the intellectual. His attempts to reach a public were mediated by these powers, and it was often these powers he had to campaign against. He was skilled enough, however, to circumvent some of these issues by his interactive approach to the various forms of media, advertising his radio interviews in a newspaper column for example, and vice versa. (Scriven 1993: 22).
The role of a public intellectual can lead to the individual placing himself in danger as he engages with disputed topics. In Sartre's case, this was witnessed in June 1961, when a plastic bomb exploded in the entrance of his apartment building. His public support of Algerian self-determination at the time had led Sartre to become a target of the campaign of terror that mounted as the colonists' position deteriorated. A similar occurrence took place the next year and he had begun to receive threatening letters from Oran. (Aronson 1980: 157).
Selected bibliography
; Plays, screenplays, novels, and short stories
* Nausea / La nausée (1938)
; Philosophic essays
* / L'imagination (1936)
; Critical essays
* Anti-Semite and Jew / Réflexions sur la question juive (1943)
; Autobiographic
* Sartre By Himself / Sartre par lui-mème (1959)
See also
Sources
References
Further reading
External links
By Sartre
On Sartre
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Vsevolod Meyerhold
's portrait of Meyerhold.]]
, 1916]]
Meyerhold on Theatre, trans. and ed. by Edward Braun, with a critical commentary, 1969. London: Methuen and New York: Hill and Wang.
Meyerhold Speaks/Meyerhold Rehearses (Russian Theatre Archive), by V. Meyerhold, Alexander Gladkov (ed.) and Alma Law (ed.), Routledge, 1996
Meyerhold at Work, Paul Schmidt (ed.), Applause Theatre Book Publishers, 1996
Vsevolod Meyerhold (Routledge Performance Practitioners Series), by Jonathan Pitches, Routledge, 2003
Meyerhold: The art of conscious theater, by Marjorie L Hoover, University of Massachusetts Press, 1974 (biography)
Vsevolod Meyerhold (Directors in Perspective Series), by Robert Leach, Christopher Innes (ed.), Cambridge University Press, 1993
Meyerhold’s Theatre of the Grotesque: Post-revolutionary Productions, 1920-32, James M. Symons, 1971
Meyerhold: A Revolution in Theatre, by Edward Braun, University of Iowa Press, 1998
The Theatre of Meyerhold: Revolution and the Modern Stage by Edward Braun, 1995
Stanislavsky and Meyerhold (Stage and Screen Studies, v. 3), by Robert Leach, Peter Lang, 2003
Meyerhold the Director, by Konstantin Rudnitsky, Ardis, 1981
Meyerhold, Eisenstein and Biomechanics: Actor Training in Revolutionary Russia by Alma H. Law, Mel Gordon, McFarland & co, 1995
The Death of Meyerhold A play by Mark Jackson, premiered at The Shotgun Players, Berkeley, CA, December 2003.
The Theater of Meyerhold and Brecht, by Katherine B. Eaton, Greenwood Press,1985
Vsevolod Meyerhold Annotated Bilbliography, by David Roy, LTScotland, 2002
Constantin Stanislavski
Vladimir Mayakovsky
Igor Ilyinsky
Nikolay Okhlopkov
Mikhail Chekhov
Yevgeny Vakhtangov
Sergei Mikhailovich Tretyakov
Andrei Droznin
List of theatre directors
Meyerhold's Boris Godunov
Meyerhold in the Encyclopædia Britannica
Meyerhold Memorial Museum
Meyerhold's theatrical system
Meyerhold's Biomechanics, Etudes, Training
Meyerhold's Biomechanics Training
Meyerhold's biomechanics
Oliver M. Sayler article on Meyerhold's theatre
Meyerhold on russiandrama.net
Moscow Meyerhold Theatre
Meyerhold and Henri Barbusse
Meyerhold & Mayakovsky - Biomechanics & the Communist Utopia
Meyerhold in Russian periodicals
Meyerhold's Theatre and Biomechanics DVD
Vsevolod Emilevich Meyerhold (; born ) (2 February 1940) was a great Russian and Soviet theatre director, actor and theatrical producer whose provocative experiments dealing with physical being and symbolism in an unconventional theatre setting made him one of the seminal forces in modern theatre.
Life and work
Vsevolod Meyerhold was born Karl Kasimir Theodor Meyerhold in Penza on 28 January o.s. (9 February n.s.) 1874 into the family of a Russian-German wine manufacturer Emil Meyerhold. Though he was by no means from a poor family, he was the last of many children.After completing school in 1895 he studied law at Moscow University but never completed his degree. On his 21st birthday, Meyerhold converted from Lutheranism to Orthodox Christianity and accepted "Vsevolod" as an Orthodox Christian name (the name of Russian writer Vsevolod Garshin, whose prose Meyerhold loved). His acting career began when in 1896 he became a student of the Moscow Philharmonic Dramatic School under the guidance of Vladimir Nemirovich-Danchenko, co-founder of the Moscow Art Theatre. At the MAT, Meyerhold played 18 roles such as Vasiliy Shuiskiy in Tsar Fyodor Ioannovich and Ivan the Terrible in The Death of Ivan the Terrible (both by Aleksey Tolstoy), and Treplev in Chekhov's The Seagull.
After leaving the MAT in 1902, Meyerhold participated in a number of theatrical projects, as both a director and actor. Each of his projects served as an arena for experiment and creation of new staging methods. Meyerhold was one of the most fervent advocates of Symbolism in theatre, especially when he worked as the chief producer of the Vera Komissarzhevskaya theatre in 1906-1907. He was invited back to the MAT around this time to pursue his experimental ideas.
Meyerhold continued his search for theatrical innovation during the decade 1907-1917, while working with imperial theatres in St. Petersburg, introducing classical plays in an innovative manner, and staging works of controversial contemporary authors like Fyodor Sologub, Zinaida Gippius, and Alexander Blok. In these plays Meyerhold tried to return acting to the traditions of Commedia dell'arte, rethinking them for the contemporary theatrical reality. His theoretical concepts of the "conditional theatre" were elaborated on in his book On Theatre in 1913.
The Russian Revolution of 1917 made Meyerhold one of the most enthusiastic activists of the new Soviet Theatre. He joined the Bolshevik Party in 1918 and became an official of the Theatre Division (TEO) of the Commissariat of Education and Enlightenment, forming an alliance with Olga Kameneva, the head of the Division in 1918-1919. Together, they tried to radicalize Russian theatres, effectively nationalizing them under Bolshevik control. Meyerhold came down with tuberculosis in May 1919 and had to leave for the south. In his absence, the head of the Commissariat, Anatoly Lunacharsky, secured Vladimir Lenin's permission to revise government policy in favor of more traditional theatres and dismissed Kameneva in June 1919.
After returning to Moscow, Meyerhold founded his own theatre in 1922, which was known as The Meyerhold Theatre until 1938. Meyerhold fiercely confronted the principles of theatrical academism, claiming that they are incapable of finding a common language with the new reality. Meyerhold’s methods of scenic constructivism and circus-style effects were used in his most successful works of the time: Nikolai Erdman's The Mandate, Vladimir Mayakovsky’s Mystery-Bouffe, Fernand Crommelynck's The Magnanimous Cuckold, and Aleksandr Sukhovo-Kobylin's Tarelkin's Death. Mayakovsky collaborated with Meyerhold several times, and it is said that Mayakovsky wrote The Bed Bug especially for him; Meyerhold continued to stage Mayakovsky's productions even after the latter's suicide. The actors participating in Meyerhold’s productions acted according to the principle of biomechanics (only distantly related to the present scientific use of the term), the system of actor training that was later taught in a special school created by Meyerhold.
Meyerhold gave initial boosts to the stage careers of some of the most distinguished comic actors of the USSR, including Igor Ilyinsky and Erast Garin. In his landmark production of Nikolai Gogol's The Government Inspector (1926): "Energetic, mischievous, charming Ilyinsky left his post to the nervous, fragile, suddenly freezing, grotesquely anxious Garin. Energy was replaced by trance, the dynamic with the static, happy jesting humour with bitter and glum satire".
Meyerhold's acting technique had fundamental principles at odds with the American method actor's conception. Where method acting melded the character with the actor's own personal memories to create the character’s internal motivation, Meyerhold connected psychological and physiological processes and focused on learning gestures and movements as a way of expressing emotion outwardly. Following Stanislavski's lead, he argued that the emotional state of an actor was inextricably linked to his physical state (and vice versa), and that one could call up emotions in performance by practicing and assuming poses, gestures, and movements. He developed a number of body expressions that his actors would use to portray specific emotions and characters. (Although Stanislavski inspired method acting, he was also at odds with it, because like Meyerhold, his approach was psychophysical).
(right), 2000.]] Meyerhold inspired revolutionary artists and filmmakers such as Sergei Eisenstein, who studied with Meyerhold and whose films employed actors who worked in Meyerhold’s tradition. Eisenstein cast actors based on what they looked like and their expression, and followed Meyerhold's stylized acting methods. In Strike, the bourgeois are always obese, drinking, eating, and smoking, whereas the workers are more athletic.
Meyerhold was strongly opposed to socialist realism, and in the beginning of the 1930s, when Joseph Stalin clamped down on all avant-garde art and experimentation, his works were proclaimed antagonistic and alien to the Soviet people. His theatre was closed down in January 1938; ailing Constantin Stanislavski, then the director of an opera theatre now known as Stanislavsky and Nemirovich-Danchenko Music Theatre, invited Meyerhold to lead his company. Stanislavski died in August 1938; Meyerhold directed his theatre for nearly a year until his arrest in Leningrad on June 20, 1939. His wife, actress Zinaida Raikh, was found dead in their Moscow apartment on July 15, 1939. Later that year he was brutally tortured and forced to make a confession that he worked for Japanese and British intelligence agencies, which he later recanted in a letter to Vyacheslav Molotov.
's Puppet Show (1906).]]
The file on Meyerhold contains his letter from prison to Molotov: "The investigators began to use force on me, a sick 65-year-old man. I was made to lie face down and beaten on the soles of my feet and my spine with a rubber strap... For the next few days, when those parts of my legs were covered with extensive internal hemorrhaging, they again beat the red-blue-and-yellow bruises with the strap and the pain was so intense that it felt as if boiling water was being poured on these sensitive areas. I howled and wept from the pain."
"When I lay down on the cot and fell asleep, after 18 hours of interrogation, in order to go back in an hour's time for more, I was woken up by my own groaning and because I was jerking about like a patient in the last stages of typhoid fever." (From the letter to V. Molotov on January 13, 1940).
He was sentenced to death by firing squad on February 1, 1940. He was executed on February 2, 1940. The Soviet government cleared him of all charges in 1955, during the first wave of de-Stalinization.
Bibliography
In English:Texts by Meyerhold
Works on Meyerhold
See also
Notes
External links
Category:Russian and Soviet theatre directors Category:Acting theorists Category:Modernist drama, theatre and performance Category:Bolsheviks Category:Russian communists Category:Communist Party of the Soviet Union members Category:Soviet rehabilitations Category:Great Purge victims Category:People executed by the Soviet Union Category:Executed Soviet people Category:Executed Russian people Category:People executed by firing squad Category:Deaths by firearm in Russia Category:Russian and Soviet Germans Category:People from Penza Category:1940 deaths Category:1874 births
This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
Jean Paul
| Name | Johann Paul Friedrich Richter |
|---|---|
| Imagesize | 250px |
| Pseudonym | Jean Paul |
| Birthdate | March 21, 1763 |
| Birthplace | Wunsiedel, Germany |
| Deathdate | November 14, 1825 |
| Deathplace | Bayreuth, Germany |
| Occupation | novelist |
| Nationality | German |
| Period | 1783-1825 |
| Genre | humour |
| Subject | education, politics |
Jean Paul (21 March 1763 – 14 November 1825), born Johann Paul Friedrich Richter, was a German Romantic writer, best known for his humorous novels and stories.
Life and work
Jean Paul was born at Wunsiedel, in the Fichtelgebirge mountains (Bavaria). His father was an organist at Wunsiedel. In 1765 his father became a pastor at Joditz near Hof, and in 1767 at Schwarzenbach, but he died on 25 April 1779, leaving the family in great poverty. After attending the Gymnasium at Hof, Jean Paul went in 1781 to the University of Leipzig. His original intention was to enter his father's profession, but theology did not interest him, and he soon devoted himself wholly to the study of literature. Unable to maintain himself at Leipzig he returned in 1784 to Hof, where he lived with his mother. From 1787 to 1789 he served as a tutor at Töpen, a village near Hof; and from 1790 to 1794 he taught the children of several families in a school he had founded in nearby Schwarzenbach.Jean Paul began his career as a man of letters with Grönländische Prozesse ("Greenland Lawsuits", published anonymously in Berlin) and Auswahl aus des Teufels Papieren ("Selections from the Devil's Papers", signed J. P. F. Hasus), the former of which was issued in 1783-84, the latter in 1789. These works were not received with much favour, and in later life Richter himself had little sympathy for their satirical tone. A spiritual crisis he suffered on 15 November 1790, in which he had a vision of his own death, altered his outlook profoundly. His next book, Die unsichtbare Loge ("The Invisible Lodge"), a romance published in 1793 under the pen-name Jean Paul (in honour of Jean Jacques Rousseau), had all the qualities that were soon to make him famous, and its power was immediately recognized by some of the best critics of the day.
Encouraged by the reception of Die unsichtbare Loge, Richter composed a number of books in rapid succession: Leben des vergnügten Schulmeisterleins Maria Wutz in Auenthal ("Life of the Cheerful Schoolmaster Maria Wutz", 1793), the best-selling Hesperus (1795), which made him famous, Biographische Belustigungen unter der Gehirnschale einer Riesin ("Biographical Recreations under the Brainpan of a Giantess", 1796), Leben des Quintus Fixlein ("Life of Quintus Fixlein", 1796), Der Jubelsenior ("The Parson in Jubilee", 1797), and Das Kampaner Tal ("The Valley of Campan", 1797). Also among these was the novel Blumen- Frucht- und Dornenstücke, oder Ehestand, Tod und Hochzeit des Armenadvokaten Siebenkäs ("Flower, Fruit and Thorn Pieces; or, the Married Life, Death and Wedding of Siebenkäs, Poor Man's Lawyer") in 1796-97. The book's slightly supernatural theme, involving a Doppelgänger and pseudocide, stirred some controversy over its interpretation of the Resurrection, but these criticisms served only to draw awareness to the author. This series of writings assured Richter a place in German literature, and during the rest of his life every work he produced was welcomed by a wide circle of admirers.
After his mother's death in 1797, Richter went to Leipzig, and in the following year to Weimar, where he started work on his most ambitious novel, Titan, published between 1801-02. Richter became friends with such Weimar notables as Herder, by whom he was warmly appreciated, but despite their close proximity, Richter never become close to Goethe and Schiller, both of whom found his literary methods repugnant; but in Weimar, as elsewhere, his remarkable conversational powers and his genial manners made him a favorite in general society. The English writers Thomas Carlyle and Thomas de Quincy took an interest in Jean Paul's work.
In 1801 he married Caroline Meyer, whom he had met in Berlin the year before. They lived first at Meiningen, then at Coburg; and finally, in 1804, they settled at Bayreuth. Here Richter spent a quiet, simple and happy life, constantly occupied with his work as a writer. In 1808 he was fortunately delivered from anxiety about outward necessities by Prince Primate Karl Theodor von Dalberg, who gave him an annual pension of 1,000 florins which was later continued by the king of Bavaria.
Jean Paul's Titan was followed by Flegeljahre ("The Awkward Age", 1804-5). His later imaginative works were Dr Katzenbergers Badereise ("Dr Katzenberger's Trip to the Medicinal Springs", 1809), Des Feldpredigers Schmelzle Reise nach Flätz ("Army Chaplain Schmelzle's Voyage to Flätz", 1809), Leben Fibels ("Life of Fibel", 1812), and Der Komet, oder Nikolaus Marggraf ("The Comet, or, Nikolaus Markgraf", 1820-22). In Vorschule der Aesthetik ("Introduction to Aesthetics", 1804) he expounded his ideas on art; he discussed the principles of education in Levana, oder Erziehungslehre ("Levana, or, Pedagogy", 1807); and the opinions suggested by current events he set forth in Friedenspredigt ("Peace Sermon", 1808), Dämmerungen für Deutschland ("Twilights for Germany", 1809), Mars und Phöbus Thronwechsel im Jahre 1814 ("Mars and Phoebus Exchange Thrones in the Year 1814", 1814), and Politische Fastenpredigten ("Political Lenten Sermons", 1817). In his last years he began Wahrheit aus Jean Pauls Leben ("The Truth from Jean Paul's Life"), to which additions from his papers and other sources were made after his death by C. Otto and E. Förster.
Also during this time he supported the younger writer E. T. A. Hoffmann, who long counted Richter among his influences. Richter wrote the preface to Fantasy Pieces, a collection of Hoffmann's short stories published in 1814.
In September 1821 Jean Paul lost his only son, Max, a youth of the highest promise; and he never quite recovered from this shock. He lost his sight in 1824, and died of dropsy at Bayreuth, on 14 November 1825.
Characteristics of his work
Friedrich Schiller said of Jean Paul that he would have been worthy of admiration if he had made as good use of his riches as other men made of their poverty—the classic approach of "Weimar".But in working out his conceptions, Jean Paul found it appropriate to express any powerful feeling by which he might happen to be moved. He made it his style to use seemingly out-of-the-way facts or psychological notions which occurred to him. Hence every one of his works is irregular in structure and his style lacks directness, though never grace. His imagination was one of extraordinary fertility, and he had a surprising power of suggesting great thoughts by means of the simplest incidents and relations.
The love of nature was one of Jean Paul's deepest pleasures; his expressions of religious feelings are also marked by a truly poetic spirit, for to him visible things were but the symbols of the invisible, and in the unseen realities alone he found elements which seemed to him to give significance and dignity to human life. His humour, the most distinctive of his qualities, cannot be dissociated from the other characteristics of his writings. It mingled with all his thoughts, and to some extent determined the form in which he embodied even his most serious reflections. That it is sometimes extravagant and grotesque cannot be disputed, but it is never harsh nor vulgar, and generally it springs naturally from the perception of the incongruity between ordinary facts and ideal laws.
Jean Paul's personality was deep and many-sided; with all his willfulness and eccentricity he was a man of a pure and sensitive spirit, with a passionate scorn for pretence and an ardent enthusiasm for truth and goodness.
The last scene of Jean Paul's Flegeljahre was the inspiration behind Robert Schumann's composition "Papillons" Op. 2.
19th century works on Jean Paul
Richter's Sämtliche Werke (Complete Works) appeared in 1826-28 in 60 volumes, to which were added 5 volumes of Literarischer Nachlass (literary bequest) in 1836-38; a second edition was published in 1840-42 (33 volumes); a third in 1860-62 (24 volumes). The last complete edition is that edited by R. Gottschall (60 parts, 1879). Editions of selected works appeared in 16 volumes (1865), in Kürschner's Deutsche Nationalliteratur (edited by P. Nerrlich, 6 vols, pp. 388-487), &c.; The chief collections of Richter's correspondence are:See further:
Quotations
Works
English translations
Richter's more important works have been translated into English, for example:References
External links
Category:1763 births Category:1825 deaths Category:People from the District of Wunsiedel Category:German novelists Category:German short story writers Category:People from the Principality of Bayreuth Category:Deaths from edema Category:German opinion journalists Category:Blind people
This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
Jane Jacobs
| Imagesize | 150px |
|---|---|
| Name | Jane Jacobs |
| Birthname | Jane Butzner |
| Birthdate | May 04, 1916 |
| Birthplace | Scranton, Pennsylvania, USA |
| Deathdate | April 25, 2006 |
| Deathplace | Toronto, Ontario, Canada |
| Occupation | Writer, Urban theorist |
| Genre | Non-fiction |
| Notableworks | The Death and Life of Great American Cities |
| Awards | OC, O.Ont |
Jane Jacobs, OC, O.Ont (May 4, 1916 – April 25, 2006) was an American-born Canadian writer and activist with primary interest in communities and urban planning and decay. She is best known for The Death and Life of Great American Cities (1961), a powerful critique of the urban renewal policies of the 1950s in the United States. The book has been credited with reaching beyond planning issues to influence the spirit of the times.
Along with her well-known printed works, Jacobs is equally well-known for organizing grassroots efforts to block urban-renewal projects that would have destroyed local neighborhoods. She was instrumental in the eventual cancellation of the Lower Manhattan Expressway, and after moving to Canada in 1968, equally influential in canceling the Spadina Expressway and the associated network of highways under construction.
American years
Jane Butzner was born in Scranton, Pennsylvania, the daughter of a doctor and a former teacher and nurse, who were Protestant in a Catholic town—adherents of a minority religion. After graduating from Scranton's Central High School, she took an unpaid position as the assistant to the women’s page editor at the Scranton Tribune. A year later, in the middle of the Great Depression, she left Scranton for New York City.During her first several years in the city, Jacobs held a variety of jobs, working mainly as a stenographer and freelance writer, often writing about working districts in the city. These experiences, she later said, "… gave me more of a notion of what was going on in the city and what business was like, what work was like." Her first job was for a trade magazine, first as a secretary, then as an editor. She also sold articles to the Sunday Herald Tribune. She then became a feature writer for the Office of War Information. While working there she met an architect named Robert Hyde Jacobs whom she married in 1944. Together they had two sons and a daughter.
She studied at Columbia University's extension school (now the School of General Studies) for two years, taking courses in geology, zoology, law, political science, and economics. About the freedom to study her wide-ranging interests, she said:
On March 25, 1952, Jacobs responded to Conrad E. Snow, chairman of the Loyalty Security Board at the United States Department of State. In her foreword to her answer she said:
Opposing expressways and supporting neighborhoods were common themes in her life. In 1962, she was the chairperson of the "Joint Committee to Stop the Lower Manhattan Expressway", when the downtown expressway plan was killed. She was again involved in stopping the Lower Manhattan Expressway and was arrested during a demonstration on April 10, 1968. Jacobs opposed Robert Moses, who had already forced through the Cross-Bronx Expressway and other roadways against neighborhood opposition. A late 1990s Public Broadcasting Service (PBS) documentary series on New York’s history devoted a full hour of its fourteen-hours to the battle between Moses and Jacobs, although Robert Caro's highly critical biography of Moses, The Power Broker, gives only passing mention to this event, despite Jacobs's strong influence on Caro.
Canadian life
In 1968, Jacobs moved to Toronto, where she lived until her death. She decided to leave the United States in part because of her objection to the Vietnam War and worry about the fate of her two draft-age sons. She and her husband chose Toronto because it was pleasant and offered him work opportunities.She quickly became a leading figure in her new city and helped stop the proposed Spadina Expressway. A frequent theme of her work was to ask whether we are building cities for people or for cars. She was arrested twice during demonstrations.
Jacobs never shied away from expressing her political support for specific candidates. She opposed the 1997 amalgamation of the cities of Metro Toronto, fearing that individual neighborhoods would have less power with the new structure. She backed an ecologist, Tooker Gomberg, who lost Toronto's 2000 mayoralty race, and was an adviser to David Miller's successful mayoral campaign in 2003, at a time when he was seen as a .
She died in Toronto Western Hospital at the age of 89, on April 25, 2006, apparently of a stroke. She was survived by a brother, James Butzner; two sons, James and Ned, and a daughter, Burgin Jacobs; by two grandchildren and two great-grandchildren. Upon her death her family's statement noted:
Legacy
Despite the virtuosity, influence, and public and intellectual awareness of Jane Jacob's first book, she herself believes that her later works are historically more important and earth shaking. She concludes that the most important sociological mechanism of wealth creation is urban import replacement, supported by urban export generation.
As a tribute to Jacobs, the Rockefeller Foundation announced on February 9, 2007 the creation of the Jane Jacobs Medal, "to recognize individuals who have made a significant contribution to thinking about urban design, specifically in New York City." From the mid 1950s to the mid 1960s, the foundation's Humanities Division sponsored an "Urban Design Studies" research program, of which Jacobs was the best known grantee. In September 2007, the Rockefeller Foundation awarded Barry Benepe, co-founder of NYC's Green Market program and a founding member of Transportation Alternatives, with the inaugural Jane Jacobs Medal for Lifetime Leadership and a $100,000 cash prize. The inaugural Jane Jacobs Medal for new Ideas and Activism was awarded to Omar Freilla, the founder of Green Worker Cooperatives in the South Bronx; Mr. Freilla donated his $100,000 to his organization.
In May 2008, the Rockefeller Foundation announced that Peggy Shepard, executive director of West Harlem Environmental Action, would receive the 2008 Jane Jacobs Medal for Lifetime Leadership and Alexie Torres-Fleming, founder of Youth Ministries for Peace and Justice, would receive the award for New Ideas and Activism. Both women will receive their medals and $100,000 awards at a dinner ceremony in September 2008 in New York City.
The City of Toronto proclaimed Friday May 4, 2007 as Jane Jacobs Day in Toronto. Two dozen free walks around and about Toronto neighborhoods, dubbed Jane's Walk, were held on Saturday May 5, 2007. A Jane's Walk event was held in New York in on September 29 and 30, 2007 and, for 2008, the event has spread to eight cities and towns across Canada.
She was also famous for her saying, "Eyes on the Street".
The Municipal Art Society of New York has partnered with the Rockefeller Foundation to host an exhibit focusing on "Jane Jacobs and the Future of New York" which opened at the MAS on September 26, 2007. The exhibit aims to educate the public on her writings and activism and uses tools to encourage new generations to become active in issues involving their own neighborhoods. An accompanying exhibit publication includes essays and articles by such architecture critics, artists, activists and journalists as Malcolm Gladwell, Reverend Billy, Robert Neuwirth, Tom Wolfe, Thomas de Monchaux, and William McDonough. Many of these contributors are participating in a series of panel discussions on "Jane Jacobs and the Future of New York" taking place at venues across the city in Fall, 2007.
Works
Jane Jacobs spent her life studying cities. Her books include:The Death and Life of Great American Cities
The Death and Life of Great American Cities is her single-most influential book and possibly the most influential American book on urban planning and cities. Widely read by both planning professionals and the general public, the book is a strong critique of the urban renewal policies of the 1950s, which, she claimed, destroyed communities and created isolated, unnatural urban spaces. Jacobs advocated the abolition of zoning laws and restoration of free markets in land, which would result in dense, mixed-use neighborhoods and frequently cited New York City's Greenwich Village as an example of a vibrant urban community.Robert Caro has cited it as the strongest influence on The Power Broker, his Pulitzer-winning biography of Robert Moses, though Caro does not mention Jacobs by name even once in the book despite Jacobs' battles with Moses over his proposed Lower Manhattan Expressway.
Beyond the practical lessons in city design and planning that Death and Life offers, the theoretical underpinnings of the work challenge the modern development mindset. Jane Jacobs defends her positions with common sense and undeniable anecdote.
The Economy of Cities
The thesis of this book is that cities are the primary drivers of economic development.Jacobs' main argument is that explosive economic growth derives from urban import replacement. Import replacement is when a city begins to locally produce goods which it formerly imported, e.g., Tokyo bicycle factories replacing Tokyo bicycle importers in the 1800s. Jacobs claims that import replacement builds up local infrastructure, skills, and production. Jacobs also claims that the increased produce is exported to other cities, giving those other cities a new opportunity to engage in import replacement, thus producing a positive cycle of growth.
In the second part of the book, Jacobs argues that cities preceded agriculture. She argues that in cities trade in wild animals and grains allowed for the initial division of labor necessary for the discovery of husbandry and agriculture; these discoveries then moved out of the city due to land competition.
Cities and the Wealth of Nations
Cities and the Wealth of Nations attempts to do for economics what The Death and Life of Great American Cities did for modern urban planning, though it has not received the same critical attention. Beginning with a concise treatment of classical economics, this book challenges one of the fundamental assumptions of the greatest economists. Classical (and Neo-classical) economists consider the nation-state to be the main player in macroeconomics. Jacobs makes a forceful argument that it is not the nation-state, rather it is the city which is the true player in this worldwide game. She restates the idea of import replacement from her earlier book The Economy of Cities, while speculating on the further ramifications of considering the city first and the nation second, or not at all.The Question of Separatism: Quebec and the Struggle over Sovereignty
The Question of Separatism incorporated and expanded Jacobs’ presentation of the 1979 Massey Lectures, entitled Canadian Cities and Sovereignty-Association. Published in 1980 and currently out of print, Jacobs' book advances the view that Quebec's eventual independence is best for Montreal, Toronto, the rest of Canada, and the world; and that such independence can be achieved peacefully. As precedent, she cites Norway’s secession from Sweden and how it enriched both nations. The origins of the contemporary secessionist-movement in the Quiet Revolution are examined, along with Canada’s historical reliance on natural resources and foreign-owned manufacturing for its own economic development. Jacobs asserts that such an approach is colonial and hence backward, citing by example Canada buying its skis and furniture from Norway or Norwegian-owned factories in Canada, the latter procedure being a product of Canadian tariffs designed specifically to foster such factories; and that two respective, independent currencies are essential to the success of an independent Quebec and a smaller resultant Canada. The relevant public views of Rene Levesque, Claude Ryan, and then Prime Minister Pierre Trudeau are also critically analyzed. Jacobs stresses the need for Montreal to continue developing its leadership of Québécois culture, but that such a need can ultimately never be fulfilled by Montreal's increasing tendencies toward regional-city status, tendencies foretelling economic, political, and cultural subservience to English-speaking Toronto. Such an outcome, Jacobs believed, would in the long run doom Quebec's independence as much as it would hinder Canada's own future. She concludes with her observation that the popular equating of political secession with political and economic failure is the result of the Enlightenment, which perceived nature as a force for "standardization, uniformity, universality, and immutability." Since then, naturalists and their readers have gradually realized that nature is a force for diversity, and that, "diversity itself is of the essence of excellence." The right kind of secession, Jacobs states, can lead to the right kind of diversity, and Quebec and Canada are capable of both, and must achieve both, to survive.Systems of Survival
Systems of Survival: A Dialogue on the Moral Foundations of Commerce and Politics moves outside of the city, studying the moral underpinnings of work. As with her other work, she used an observational approach. This book is written as a Platonic dialogue. It appears that she (as described by characters in her book) took newspaper clippings of moral judgements related to work, collected and sorted them to find that they fit two patterns of moral behaviour that were mutually exclusive. She calls these two patterns "Moral Syndrome A", or commercial moral syndrome, and "Moral Syndrome B", or guardian moral syndrome. She claims that the commercial moral syndrome is applicable to business owners, scientists, farmers, and traders. Similarly, she claims that the guardian moral syndrome is applicable to government, charities, hunter-gatherers, and religious institutions. She also claims that these Moral Syndromes are fixed, and do not fluctuate over time.
It is important to stress that Jane Jacobs is providing a theory about the morality of work, and not all moral ideas. Moral ideas that are not included in her syndrome are applicable to both syndromes.
Jane Jacobs goes on to describe what happens when these two moral syndromes are mixed, showing the work underpinnings of the Mafia and communism, and what happens when New York Subway Police are paid bonuses here — reinterpreted slightly as a part of the larger analysis.
The Nature of Economies
The Nature of Economies, a dialog between friends concerning the premise: "human beings exist wholly within nature as part of the natural order in every respect" (p ix), argues that the same principles underlie both ecosystems and economies: "development and co-development through differentiations and their combinations; expansion through diverse, multiple uses of energy; and self-maintenance through self-refueling" (p82).Jacobs' characters discuss the four methods by which "dynamically stable systems" may evade collapse: "bifurcations; positive-feedback loops; negative-feedback controls; and emergency adaptations" (p86). Their conversations also cover the "double nature of fitness for survival" (traits to avoid destroying one's own habitat as well as success in competition to feed and breed, p119), and unpredictability including the butterfly effect characterized in terms of multiplicity of variables as well as disproportional response to cause, and self-organization where "a system can be making itself up as it goes along" (p137).
Through the dialogue, Jacobs' characters explore and examine the similarities between the functioning of ecosystems and economies. Topics include environmental and economic development, growth and expansion, and how economies and environments keep themselves alive through "self-refueling." Jacobs also comments on the nature of economic and biological diversity and its role in the development and growth of the two kinds of systems.
The book is infused with many real-world economic and biological examples, which help keep the book "down to earth" and comprehensible, if dense. Concepts are furnished with both economic and biological examples, showing their coherence in both worlds.
One particularly interesting insight is the creation of "something from nothing"—an economy from nowhere. In the biological world, free energy is given through sunlight, but in the economic world human creativity and natural resources supply this free energy, or at least starter energy. Another interesting insight is the creation of economic diversity through the combination of different technologies, for example the typewriter and television as inputs and outputs of a computer system: this can lead to the creation of "new species of work".
Dark Age Ahead
Published in 2004 by Random House, in Dark Age Ahead Jacobs argued that "North American" civilization showed signs of spiral of decline comparable to the collapse of the Roman empire. Her thesis focused on "five pillars of our culture that we depend on to stand firm," which can be summarized as the nuclear family (but also community), education, science, representational government and taxes, and corporate and professional accountability. As the title suggests, her outlook was far more pessimistic than in her previous books. However, in the conclusion she wrote that, "At a given time it is hard to tell whether forces of cultural life or death are in the ascendancy. Is suburban sprawl, with its murders of communities and wastes of land, time, and energy, a sign of decay? Or is rising interest in means of overcoming sprawl a sign of vigor and adaptability in North American culture? Arguably, either could turn out to be true."
Activism in later years
During the 2003 Toronto mayoral campaign, Jacobs helped lobby against the construction of a bridge to join the city's waterfront to Toronto City Center Airport (TCCA). Following the election, Toronto City Council’s earlier decision to approve the bridge was reversed and bridge construction project was stopped. TCCA did upgrade the ferry service and the airport is still in operation as of 2010.Jacobs was also active in a fight against a plan of Royal St. Georges College (an established school very close to Jacobs' long-time residence in Toronto’s Annex district) to reconfigure its facilities. Jacobs suggested not only that the redesign be stopped but also the school be forced from the neighborhood entirely. Although Toronto council initially rejected the school’s plans, the decision was later reversed — and the project was given the go-ahead by the Ontario Municipal Board (OMB) when opponents failed to produce credible witnesses and tried to withdraw from the case during the hearing.
Criticism
Toronto businesses have had mixed feelings about Jacobs. Some have applauded her leading the way to a thriving urban core. Others have pointed to higher growth in suburban areas surrounding Toronto that have lower taxes and debt, whereas Toronto's debt is growing. Toronto's mayor David Miller argued in 2005 that this trend has more to do with inequalities in provincial tax policy than Jacobs’ perceived threat to business growth.Another criticism is that Jacobs' approach leads to gentrification: an observed urban social process whereby urban economic development leads to old neighborhoods becoming too expensive for the original population once "renewed." The previous inhabitants are replaced by yuppies and hipsters who enjoy the "semi-bohemian bourgeois lifestyle" that sometimes arises. This issue, however, was addressed and criticized in Jacobs' The Death and Life of Great American Cities. Jacobs refers to this phenomenon as the "self destruction of diversity," and lists it as a developmental obstacle that cities must overcome.
Books by Jacobs
See also
References
;Notes;Further reading
;Articles
External links
;Interviews
;Audio and video
;Websites
;Obituaries and remembrances
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Henry Miller
| Name | Henry Valentine Miller |
|---|---|
| Birthdate | December 26, 1891 |
| Birthplace | Yorkville, Manhattan, New York City |
| Deathdate | June 07, 1980 |
| Deathplace | Pacific Palisades, California, United States |
| Occupation | Writer, painter |
| Genre | Erotic literature, Surrealism, Novel |
| Spouse | Beatrice Sylvas Wickens (1917–1928) June Miller (1928–34) Janina Martha Lepska (1944–52) Eve McClure (1953–1960) Hiroko Tokuda (1967–1977) |
Biography
Miller was born to tailor Heinrich Miller and Louise Marie Neiting, in the Yorkville section of Manhattan, New York City, of German Catholic heritage. As a child he lived at 662 Driggs Avenue in Williamsburg, Brooklyn, known in that time (and referred to frequently in his works) as The Fourteenth Ward. As a young man, he was active with the Socialist Party (his "quondam idol" was the Black Socialist Hubert Harrison). He briefly—for only one semester—attended the City College of New York. Although he was an exceptional scholar, he was willing neither to be anchored nor to submit to the traditional college system of education.His first wife was Beatrice Sylvas Wickens, whom he married in 1917. During 1928-29, Miller spent several months in Paris with his second wife, June Edith Smith (June Miller). The next year he moved to Paris unaccompanied, and he continued to live there until the outbreak of World War II. Although Miller had little or no money the first year in Paris, things began to change with the meeting of Anais Nin who would go on to pay his entire way through the 1930s including the rent for the beautiful and modern apartment at 18, villa Seurat. Anaïs Nin became his lover and financed the first printing of Tropic of Cancer in 1934 with money from Otto Rank.
In the fall of 1931, Miller was employed by the Chicago Tribune (Paris edition) as a proofreader, thanks to his friend Alfred Perlès who worked there. Miller took this opportunity to submit some of his own articles under Perlès name, since only the editorial staff were permitted to publish in the paper in 1934. This period in Paris was highly creative for Miller, and during this time he also established a significant and influential network of authors circulating around the Villa Seurat. One author who became a lifelong friend was the young British author Lawrence Durrell. Durrell, who lived in Corfu, invited Miller out to Greece, a visit which Miller describes vividly in The Colossus of Maroussi. Miller's correspondence with Durrell was later published. During the Paris period he was also influenced by the French Surrealists.
His works contain detailed accounts of sexual experiences, and his books did much to free the discussion of sexual subjects in American writing from both legal and social restrictions. He continued to write novels that were banned in the United States on the grounds of obscenity. Along with Tropic of Cancer, his Black Spring (1936) and Tropic of Capricorn (1939) were smuggled into his native country, building Miller an underground reputation. One of the first acknowledgments of Henry Miller as a major modern writer was by George Orwell in his 1940 essay Inside the Whale, where he wrote:
In 1940, he returned to the United States, settling in Big Sur, California, and continued to produce vividly written works that challenged contemporary American cultural values and moral attitudes. He spent the last years of his life at his home in 444 Ocampo Drive, Pacific Palisades, Los Angeles, California.
While Miller was establishing his base in Big Sur, the 'Tropics' books, still banned in the USA, were being published in France by the Obelisk Press and later the Olympia Press. There they were acquiring a slow and steady notoriety among both Europeans and the various enclaves of American cultural exiles. As a result, the books were frequently smuggled into the States, where they would prove to be a major influence on the new Beat generation of American writers (most notably Jack Kerouac) some of whom would adopt stylistic and thematic principles found in Miller's oeuvre.
The publication of Miller's Tropic of Cancer in the United States in 1961 led to a series of obscenity trials that tested American laws on pornography. The U.S. Supreme Court, in Grove Press, Inc., v. Gerstein, citing Jacobellis v. Ohio (which was decided the same day in 1964), overruled the state court findings of obscenity and declared the book a work of literature; it was one of the notable events in what has come to be known as the sexual revolution. Elmer Gertz, the lawyer who successfully argued the initial case for the novel's publication in Illinois, became a lifelong friend of Miller's. Volumes of their correspondence have been published.
In addition to his literary abilities, Miller was a painter and wrote books about his work in that field. He was a close friend of the French painter Grégoire Michonze. He was also an amateur pianist.
After his move to Pacific Palisades, he held innumerable dinner parties for a host of famous guests. His cook and caretaker was a young artist's model called Twinka Thiebaud who later wrote a book of his evening chats: Reflections published by Capra Press in 1981. (This book is being extensively rewritten for republication in 2011.)
During the last four years of his life, Miller held an ongoing correspondence of over 1500 letters with Brenda Venus, a young and vivacious Playboy playmate, actress and dancer. An article detailing their affair ran in a special edition of Playboy in 1996. The article called her Miller's "twilight muse" during the bedridden final years of his life.
Before his death, Miller filmed with Warren Beatty for his film Reds. He spoke of his remembrances of John Reed and Louise Bryant as part of a series of 'witnesses'. The film was released eighteen months after Miller's death.
Miller died in Pacific Palisades in 1980. After his death, he was cremated and his ashes scattered off Big Sur.
Miller's papers were donated to the UCLA Young Research Library Department of Special Collections. The Henry Miller Art Museum at Coast Gallery in Big Sur, the Harry Ransom Humanities Research Center at the University of Texas at Austin, and UCLA all hold a selection of Miller's watercolors, as did The Henry Miller Museum of Art in Omachi City in Nagano, Japan, before closing in 2003. A portion of the correspondence between the Grove Press and Henry Miller are currently housed in the Special Collections Research Center at Syracuse University. Special Collections at the University of Victoria holds a significant collection of Miller's manuscripts and correspondences, including the corrected typescript for Max and Quiet Days in Clichy, as well as Miller's lengthy correspondence with Alfred Perlès.
Works
London: Oneworld Classics, 2007. ISBN 978-1-84749-036-0
Films
Miller was portrayed by Fred Ward in the 1990 movie Henry & June, and by Rip Torn in the 1970 film adaptation of Tropic of Cancer. In the 1970 Jens Jørgen Thorsen adaptation of Quiet Days in Clichy, the Miller-based character of 'Joey' was played by the late Paul Valjean. Claude Chabrol's 1990 adaptation of the same novel saw Andrew McCarthy play the Miller role as "Henry Miller" himself. Miller was also featured in the documentary Henry Miller Is Not Dead that featured music by Laurie Anderson. Miller appeared as an interviewee in Warren Beatty's film Reds.Criticism
Feminist activist Kate Millett has criticized Miller for his depiction of female characters. In her 1970 work Sexual Politics, analyzed Miller alongside D.H. Lawrence and Norman Mailer, finding that each tends to assume a male audience, objectifying female characters in the process. While reasserting Miller's importance as a novelist, Millett cast doubt upon his status as an icon of sexual freedom, concluding, "Miller is a compendium of American sexual neuroses, and his value lies not in freeing us from such afflictions, but in having had the honesty to express and dramatize them" (p. 295). Norman Mailer came to Miller's defense in The Prisoner of Sex in 1971. According to Martin B. Duberman, writing for The New Republic on November 27, 1976, Miller ought to be rescued from both Mailer and Millett.References
Further reading
External links
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Eugène Ionesco
| Name | Eugène Ionesco |
|---|---|
| Imagesize | 300px |
| Caption | Photo by Irving Penn |
| Birthdate | November 26, 1909 |
| Birthplace | Slatina, Romania |
| Deathdate | |
| Deathplace | Paris, France |
| Occupation | Playwright, dramatist |
| Nationality | Romanian, French |
| Period | (1931–1994) |
| Genre | Theatre |
| Movement | Avante-Garde, Theatre of the Absurd |
| Influences | }} |
Eugène Ionesco (born Eugen Ionescu, ; 26 November 1909 – 28 March 1994) was a Romanian and French playwright and dramatist, and one of the foremost playwrights of the Theatre of the Absurd. Beyond ridiculing the most banal situations, Ionesco's plays depict in a tangible way the solitude and insignificance of human existence.
Background
Ionesco was born in Slatina, Romania to a Romanian father of the Orthodox religion and a mother of French and Greek-Romanian heritage, whose religion was Protestant (the religion into which her father was born and to which her originally Greek Orthodox mother had converted). Eugène himself was baptized into the Romanian Orthodox religion. Many sources cite his birthdate as 1912, this error being due to vanity on the part of Ionesco himself.He spent most of his childhood in France and, while there, had an experience he claimed affected his perception of the world more significantly than any other. As Deborah B. Gaensbauer describes in Eugene Ionesco Revisited, "Walking in summer sunshine in a white-washed provincial village under an intense blue sky, [Ionesco] was profoundly altered by the light." He was struck very suddenly with a feeling of intense luminosity, the feeling of floating off the ground and an overwhelming feeling of well-being. When he "floated" back to the ground and the "light" left him, he saw that the real world in comparison was full of decay, corruption and meaningless repetitive action. This also coincided with the revelation that death takes everyone in the end. Much of his later work, reflecting this new perception, demonstrates a disgust for the tangible world, a distrust of communication, and the subtle sense that a better world lies just beyond our reach. Echoes of this experience can also be seen in references and themes in many of his important works: characters pining for an unattainable "city of lights" (The Killer, The Chairs) or perceiving a world beyond (A Stroll in the Air); characters granted the ability to fly (A Stroll in the Air, Amédée); the banality of the world which often leads to depression (the Bérenger character); ecstatic revelations of beauty within a pessimistic framework (Amédée, The Chairs, the Bérenger character); and the inevitability of death (Exit the King).
He returned to Romania with his father and mother in 1925 after his parents divorced. There he attended Saint Sava National College, after which he studied French Literature at the University of Bucharest from 1928 to 1933 and qualified as a teacher of French. While there he met Emil Cioran and Mircea Eliade, and the three became lifelong friends.
In 1936 Ionesco married Rodica Burileanu. Together they had one daughter for whom he wrote a number of unconventional children's stories. He and his family returned to France in 1938 for him to complete his Doctoral Thesis. Caught by the outbreak of World War II in 1939, he remained there, living in Marseille during the war before moving with his family to Paris after its liberation in 1944.
Ionesco was made a member of the Académie française in 1970 He also received numerous awards including Tours Festival Prize for film, 1959; Prix Italia, 1963; Society of Authors Theatre Prize, 1966; Grand Prix National for theatre, 1969; Monaco Grand Prix, 1969; Austrian State Prize for European Literature, 1970; Jerusalem Prize, 1973; and honorary Doctoral Degrees from New York University and the Universities of Leuven, Warwick and Tel Aviv. Eugène Ionesco died at age 84 on 28 March 1994 and is buried in the Cimetière du Montparnasse in Paris.
Ionesco the author
Writing in Romania
Though best known as a playwright, plays were not his first chosen medium. He started writing poetry and criticism, publishing in several Romanian journals. Two early writings of note are Nu, a book criticizing many other writers including prominent Romanian poets, and Hugoliade, or, The grotesque and tragic life of Victor Hugo a satirical biography mocking Victor Hugo's status as a great figure in French literature. The Hugoliade includes exaggerated retellings of the most scandalous episodes in Hugo's life and contains prototypes for many of Ionesco's later themes: the ridiculous authoritarian character, the false worship of language.The origins of his first play
Like Samuel Beckett, Ionesco came to the theatre late: he did not write his first play until 1948 (La Cantatrice chauve, first performed in 1950 with the English title The Bald Soprano). At the age of 40 he decided to learn English using the Assimil method, conscientiously copying whole sentences in order to memorize them. Re-reading them, he began to feel that he was not learning English, rather he was discovering some astonishing truths such as the fact that there are seven days in a week, that the ceiling is up and the floor is down; things which he already knew, but which suddenly struck him as being as stupefying as they were indisputably true.This feeling only intensified with the introduction in later lessons of the characters known as "Mr. and Mrs. Smith". To his astonishment, Mrs. Smith informed her husband that they had several children, that they lived in the vicinity of London, that their name was Smith, that Mr. Smith was a clerk, and that they had a servant, Mary, who was English like themselves. What was remarkable about Mrs. Smith, he thought, was her eminently methodical procedure in her quest for truth. For Ionesco, the clichés and truisms of the conversation primer disintegrated into wild caricature and parody with language itself disintegrating into disjointed fragments of words. Ionesco set about translating this experience into a play, La Cantatrice Chauve, which was performed for the first time in 1950 under the direction of Nicolas Bataille. It was far from a success and went unnoticed until a few established writers and critics, among them Jean Anouilh and Raymond Queneau, championed the play.
Early plays
Ionesco's earliest works, and his most innovative, were one-act nonsense plays: La Cantatrice chauve (1950), La Leçon translated as The Lesson (1951), Les Chaises translated as The Chairs (1952), and Jacques ou la soumission translated as Jack, or The Submission (1955). These absurdist sketches, to which he gave such descriptions as "anti-play" (anti-pièce in French) express modern feelings of alienation and the impossibility and futility of communication with surreal comic force, parodying the conformism of the bourgeoisie and conventional theatrical forms. In them Ionesco rejects a conventional story-line as their basis, instead taking their dramatic structure from accelerating rhythms and/or cyclical repetitions. He disregards psychology and coherent dialogue, thereby depicting a dehumanized world with mechanical, puppet-like characters who speak in non-sequiturs. Language becomes rarefied, with words and material objects gaining a life of their own, increasingly overwhelming the characters and creating a sense of menace.The full-length plays
With Tueur sans gages translated as The Killer (1959; his second full-length play, the first being Amédée, ou Comment s'en débarrasser in 1954), Ionesco began to explore more sustained dramatic situations featuring more humanized characters. Notably this includes Bérenger, a central character in a number of Ionesco's plays, the last of which is Le Piéton de l'air translated as A Stroll in the Air.Bérenger is a semi-autobiographical figure expressing Ionesco's wonderment and anguish at the strangeness of reality. He is comically naïve, engaging the audience's sympathy. In The Killer he encounters death in the figure of a serial killer. In Rhinocéros he watches his friends turning into rhinoceroses one by one until he alone stands unchanged against this tide of conformism. It is in this play that Ionesco most forcefully expresses his horror of ideological conformism, inspired by the rise of the fascist Iron Guard in Romania in the 1930s. Le Roi se meurt translated as Exit the King (1962) shows him as King Bérenger 1st, an everyman figure who struggles to come to terms with his own death.
, Paris. The inscription translates: Pray to the I don't-know-who: Jesus Christ, I hope]]
Later works
Ionesco's later work has generally received less attention. This includes La Soif et la faim translated as Hunger and Thirst (1966), Jeux de massacre (1971), Macbett (1972, a free adaptation of Shakespeare's Macbeth) and Ce formidable bordel (1973).Apart from the libretto for the opera Maximilien Kolbe (music by Dominique Probst) which has been performed in five countries, filmed for television and recorded for release on CD, Ionesco did not write for the stage after Voyage chez les morts in 1981. However, La Cantatrice chauve is still playing at the Théâtre de la Huchette today, having moved there in 1952.
Theoretical writings
Like Shaw and Brecht, Ionesco also contributed to the theatre with his theoretical writings (Wellwarth, 33). Ionesco wrote mainly in attempts to correct critics who he felt misunderstood his work and therefore wrongly influenced his audience. In doing so, Ionesco articulated ways in which he thought contemporary theatre should be reformed (Wellwarth, 33). Notes and Counter Notes is a collection of Ionesco's writings, including musings on why he chose to write for the theatre and direct responses to his contemporary critics.In the first section, titled "Experience of the Theatre", Ionesco claimed to have hated going to the theatre as a child because it gave him "no pleasure or feeling of participation" (Ionesco, 15). He wrote that the problem with realistic theatre is that it is less interesting than theatre that invokes an "imaginative truth", which he found to be much more interesting and freeing than the "narrow" truth presented by strict realism (Ionesco, 15). He claimed that "drama that relies on simple effects is not necessarily drama simplified" (Ionesco, 28). Notes and Counter Notes also reprints a heated war of words between Ionesco and Kenneth Tynan based on Ionesco's above stated beliefs and Ionesco's hatred for Brecht and Brechtian theatre.
Literary context
Ionesco is often considered a writer of the Theatre of the Absurd. This is a label originally given to him by Martin Esslin in his book of the same name, placing Ionesco alongside such contemporary writers as Samuel Beckett, Jean Genet, and Arthur Adamov. Esslin called them "absurd" based on Albert Camus' concept of the absurd, claiming that Beckett and Ionesco better captured the meaninglessness of existence in their plays than in work by Camus or Sartre. Because of this loose association, Ionesco is often mislabeled an existentialist. Ionesco claimed in Notes and Counter Notes that he was not an existentialist and often criticized existentialist figurehead Jean-Paul Sartre. Although Ionesco knew Beckett and honored his work, the French group of playwrights was far from an organized movement.Ionesco claimed instead an affinity for ’Pataphysics and its creator Alfred Jarry. He was also a great admirer of the Dadaists and Surrealists, especially his fellow countryman Tristan Tzara. Ionesco became friends with the founder of Surrealism, André Breton, whom he revered. In Present Past, Past Present, Ionesco wrote, "Breton taught us to destroy the walls of the real that separate us from reality, to participate in being so as to live as if it were the first day of creation, a day that would every day be the first day of new creations." Raymond Queneau, a former associate of Breton and a champion of Ionesco's work, was a member of the Collège de ’Pataphysique and a founder of Oulipo, two groups with which Ionesco was associated.
Selected works
Plays
Essays and theoretical writings
Novels and stories
Operatic adaptations and libretti
Poetry
Children's books
References and notes
Sources
Primary sources
Secondary sources
External links
Category:1909 births Category:1994 deaths Category:People from Slatina, Romania Category:Carol I High School alumni Category:French dramatists and playwrights Category:French people of Romanian descent Category:Romanian people of French descent Category:Literary critics Category:Members of the Académie française Category:'Pataphysicians Category:Recipients of the Pour le Mérite (civil class) Category:Romanian dramatists and playwrights Category:Romanian writers in French Category:Saint Sava National College alumni Category:Theatre of the Absurd Category:University of Bucharest alumni Category:Austrian State Prize for European Literature winners Category:Burials at Montparnasse Cemetery
This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
Dirt Topsoil Compost Screener Sifter
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- Duration: 0:40
- Published: 22 Jul 2008
- Uploaded: 11 Feb 2011
- Author: PicMartSkunkWerX
This is a homemade soil screener for sifting dirt, topsoil, compost, rocks etc. A 5HP Honda motor drives a belt to a pulley with an off-balance weighted flywheel causing the vibration. The sticks, rocks, clumps and larger debris exits at the end of the screen. The finer sifted material drops through the screen and falls underneath due to the vibrating/sifting action.
Jean-Paul Sartre and Simone de Beauvoir Screener
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- Duration: 4:58
- Published: 12 Jun 2009
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- Author: artfilms07
Screener for Jean-Paul Sartre and Simone de Beauvoir DVD available online at www.artfilms.com.au Code: SRC-Jean Jean-Paul Sartre (1905-1980) and Simone de Beauvoir (1908-1986), two of the most influential and controversial thinkers of our time, are presented in this unique documentary originally broadcast in 1967 and photographed by Michel Brault, one of Canadas most distinguished documentary cameramen and filmmakers. Jean-Paul Sartre addresses a variety of topics: his opposition to the Vietnam War, the purpose and mandate of the Bertrand Russell war crime tribunal he chaired, his reaction to extensive criticism, and his refusal of the Nobel Prize for literature. Simone de Beauvoir responds straightforwardly to questions. She talks about her ongoing commitment to womens liberation and about the decline of the movement, particularly in France. Her vision of life is optimistic, but her realism in the face of despair is disarmingly lucid. For the first time, the two allow a candid glimpse into their private lives. They show us the places theyve lived, reveal their thoughts and work habits, and discuss, albeit discreetly, the nature of their relationship. Simone de Beauvoir modestly confides that they agreed to be filmed for all those who have enjoyed their works and all those who will one day read them. 1961, B/W, 60 mins. Transcript available by request.
6pm - Homemade Screener
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- Published: 03 May 2006
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Video Clip od Homemade Screener by Suso Rivas.
An Interview with Eugene Ionesco - Screener
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- Duration: 4:30
- Published: 25 May 2008
- Uploaded: 03 Mar 2011
- Author: artfilms07
Film distributed by Contemporary Arts Media www.artfilms.com.au Code: SRC-Ion Eugene Ionesco (1912-1994), the Romanian-born French dramatist, speaks at length about his childhood, his studies, the type of theatre he enjoyed in his youth, his original personality, and his constant need for solitude. He also discusses the absurdity of our world and our inability to communicate. His plays draw on parody and symbolism to denounce the absurdity of life and social relationships. Finally, he touches on his Nazi resistance and his disbelief over the reaction of intellectuals during the war. A rare archive film shot in 1961, b/w, 30 mins. Transcript available with the film by request.
Themepark_1984 -Screener- 1/6
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Brook by Brook DVD-2 Screener - Contemporary Arts Media
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- Duration: 3:44
- Published: 29 Oct 2007
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- http://wn.com/Brook_by_Brook_DVD-2_Screener__Contemporary_Arts_Media
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Screener for Brook by Brook distributed worldwide online by Contemporary Arts Media (www.artfilms.com.au). DVD 2 The Tragedy of Hamlet, Director: Peter Brook Famed filmmaker and theatre director Peter Brook, renowned for his innovative and controversial stage plays (Marat/Sade, The Mahabharata), interprets Hamlet in a gripping, stripped-down production that highlights the tragic heart of the play. In the title role, Adrian Lester (Primary Colors) heads a stellar cast of the world's best actors; the international flavor of the cast adds a modern touch to this most famous of Shakespeare's dramas. This adaptation of Hamlet, in English, joins together a remarkable casting of actors. By filming himself his stage setting, Peter Brook offers us a masterpiece. Includes booklet with essay by screenwriter Jean-Claude Carriere, About Hamlet by Peter Brook, and optional English, Spanish, and French menus and subtitles. 130 mins.
Stock Screener For Forex, Stocks,Futures, Mutual Fund- Online Stock Seminars
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- Duration: 9:28
- Published: 29 Nov 2009
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tinyurl.com This stock screener /stock market screener /filter can scan a list of forex, stocks, future and mutual funds in any trends. Also learn stock trading from gurus via online trading seminars from this stock trading tool/ package. Click for 30 day free trial. To watch a few free stock training videos, click here tinyurl.com For other stock screener, please visit www.stocks-trading-strategy-and-pattern.com For other stock trading strategies, please visit www.stocks-trading-strategy-and-pattern.com
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Commedia by Fava Screener - Contemporary Arts Media
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- Duration: 6:00
- Published: 28 Aug 2007
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Screener for the film Commedia by Fava - The Commedia dell'arte Step by Step. Commedia dell'Arte as taught by Antonio Fava. The world-famous maestro reveals the characters, movement, masks, and comic scenarios of Commedia dell'Arte. Born in the Renaissance, Commedia continues to exercise a powerful attraction in the world of theater. It is a comic genre, a fundamental skill for actors, a precious tool for creating rapport with an audience, a foundation for all comedy, and pure theater. The Old Letchers, the Young Lovers, the Servants and Captains come to life in the ancient tradition with the rhythms, language, and culture of today. The two DVD set is the most complete, up-to-date method for learning Commedia dell'Arte. 258 Mins. 2006. In English Available online worldwide from Contemporary Arts Media. www.artfilms.com.au
Interview with Henry Miller Screener
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- Published: 12 Jun 2009
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Screener for Interview with Henry Miller DVD available online at www.artfilms.com.au Code: SRC-Mill In this brilliant interview, Henry Miller (1891-1980) describes the motivation and inspiration that guided his writings. He talks about his self-imposed exile to Europe and Paris, his return to the US, censorship, fame and the importance of reading. In English, b/w, 1969, 60 mins. Transcript available with the film on request.
Royer 365 Topsoil Shredder/Screener
- Order: Reorder
- Duration: 1:25
- Published: 02 May 2008
- Uploaded: 04 Nov 2010
- Author: SoilScreener
USED Royer 365 Topsoil Shredder/Screener for sale Website: www.soilshredderparts.com Diesel 4 Cyl Ford Engine Grizzly Bar on hopper to reject large objects Side discharge Conveyor for rocks 2.5 Yard hopper Capacity approx. 75 Cubic yards per hour Pintle Hitch The Royer Model 365 is the most effective machine for shredding and mixing soil. US Clients can call toll-free: 1-877-603-0208 International Clients: +1-570-603-0208
Meyerhold's Theater and Biomechanics - Screener
- Order: Reorder
- Duration: 5:18
- Published: 25 May 2008
- Uploaded: 02 Mar 2011
- Author: artfilms07
Film distributed by Contemporary Arts Media www.artfilms.com.au Code: MB-Mey "Meyerhold! A mix of creative genius and human vulnerability. Innumerable, those in agony over his loss, whom, like myself, loved him endlessly. Innumerable moments of excitement for those, who witnessed the creative magic of this one time wizard of the stage." Sergei Eisenstein Is Meyerhold, framed and murdered by Stalin in 1940, the "greatest theater master" (Eisenstein) of our century? Perhaps. He is without a doubt the most puzzling. Biomechanics was the core and culmination point of his theatrical concept. Its traces were disfigured, smeared, and distorted by history and politics. Its traces were searched and researched by many, including Jerzy Grotowski, Peter Brook and The Living Theater. In the 1990's, after the opening of archives in the former Soviet Union, an original source of Biomechanics became known. Nikolai Kustow, the Biomechanics instructor in Meyerhold's Theater, maintained a "hidden" school and secretly passed on principles and etudes to a new genera-tion of actors. In this video, Russian actor and pedagogue, Gennadi Bogdanov is shown presenting the most important etudes and principles of Biomechanics. In addition to historical film and photodocumentation of Biomechanics, the video also displays recent scenic work from Europe and the USA developed from the basis of Meyerhold's Biomechanics. In English, 43 mins, colour & Black & white.
Jane Jacobs: Urban Wisdom Screener
- Order: Reorder
- Duration: 2:56
- Published: 31 Oct 2007
- Uploaded: 04 Dec 2010
- Author: artfilms07
Purchase this product online from www.artfilms.com.au
Model 42F Screener
- Order: Reorder
- Duration: 2:02
- Published: 29 Apr 2008
- Uploaded: 27 Sep 2010
- Author: SoilScreener
Model 42F Screener System website: www.soilshredderparts.com Approx. Weight: 1100lbs Discharge Height" 6'-4" Width: 6'-3" Screen Dimensions: 3'2" x 5' 1/2 deck Length: 14' x 11" Power Plant:8 HP Honda Gas Engine Loading Height: 2'0" Royer Northeast Sales is the exclusive Dealer for parts to the Model 42F The Model 42F is built to the highest standards, using the finest components. This unit is manufactured in the USA The Model 42F will screen material while removing debris from the unscreened material being fed to it. The fine screened product is then conveyed and stock piled at a discharge height of 6'-4". The stone, twigs, metals, etc. are discharged at the rear of the screen. The Model 42F is an asset to Municipalities, Golf Courses, Nurseries, Foundries, Landscapers, or anyone wanting quality fined screened products. Screens are easily changed and various size openings are available. See Parts for screen size available. For added durability all steel structure components are powder-coated, with a high gloss baked-on coated finish (lasts twice as long when compared to a regular paint finish)
TSA FAIL: Screeners Frequently Miss Fake Bombs During Undercover Tests!
- Order: Reorder
- Duration: 2:58
- Published: 28 Mar 2008
- Uploaded: 11 Feb 2011
- Author: TheIntelligencer
- http://wn.com/TSA_FAIL_Screeners_Frequently_Miss_Fake_Bombs_During_Undercover_Tests!
- Email this video
- Sms this video
WASHINGTON — Security screeners at two of the nation's busiest airports failed to find fake bombs hidden on undercover agents posing as passengers in more than 60% of tests last year, according to a classified report obtained by USA TODAY. Screeners at Los Angeles International Airport missed about 75% of simulated explosives and bomb parts that Transportation Security Administration testers hid under their clothes or in carry-on bags at checkpoints, the TSA report shows. At Chicago O'Hare International Airport, screeners missed about 60% of hidden bomb materials that were packed in everyday carry-ons — including toiletry kits, briefcases and CD players. San Francisco International Airport screeners, who work for a private company instead of the TSA, missed about 20% of the bombs, the report shows. The TSA ran about 70 tests at Los Angeles, 75 at Chicago and 145 at San Francisco. The report looks only at those three airports, using them as case studies to understand how well the rest of the US screening system is working to stop terrorists from carrying bombs through checkpoints. The failure rates at Los Angeles and Chicago stunned security experts. "That's a huge cause for concern," said Clark Kent Ervin, the Homeland Security Department's former inspector general. Screeners' inability to find bombs could encourage terrorists to try to bring them on airplanes, Ervin said, and points to the need for more screener training and more powerful checkpoint scanning machines. In <b>...</b>
Art & Copy Screener
- Order: Reorder
- Duration: 1:15
- Published: 26 Mar 2009
- Uploaded: 26 Dec 2010
- Author: 27marblestraining
Kung Fu Beggar
kung fu
Themepark_1984 -Screener- 2/6
Themepark 1984 -Screener- 2/6 North Korea travel documentary. Visit film-makers: www.infinitehumanstupidity.com SUPPORT PIRATEBAY!!! Visit ripped torrents www.thepiratebay.com
Themepark_1984 -Screener- 3/6
Themepark 1984 -Screener- 3/6 North Korea travel documentary. Visit film-makers: www.infinitehumanstupidity.com SUPPORT PIRATEBAY!!! Visit ripped torrents www.thepiratebay.com
Themepark_1984 -Screener- 4/6
Themepark 1984 -Screener- 4/6 North Korea travel documentary. Visit film-makers: www.infinitehumanstupidity.com SUPPORT PIRATEBAY!!! Visit ripped torrents www.thepiratebay.com
Themepark_1984 -Screener- 5/6
Themepark 1984 -Screener- 5/6 North Korea travel documentary. Visit film-makers: www.infinitehumanstupidity.com SUPPORT PIRATEBAY!!! Visit ripped torrents www.thepiratebay.com
Seriál Redakce - cameo Jan P. Muchow
Jan P. Muchow (of the band Ecstasy of Saint Theresa) makes a cameo appearance in TV series Redakce (2005) (including English subtitles)
photo: Creative Commons / Doc Searls
If you’re traveling out of Logan International Airport this week and feel tempted to curse the lines and the security people, save it for the real villains: the terrorists who want to destroy...
photo: WN / Janice Sabnal
PUNTERS AT NEWARK Liberty International Airport, might have thought it odd that all their electronics gear was being confiscated in the name of keeping the US safe. But it turns out that the US...
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Dirt Topsoil Compost Screener Sifter
Dirt Topsoil Compost Screener Sifter
0:40
This is a homemade soil screener for sifting dirt, topsoil, compost, rocks etc. A 5HP Honda motor drives a belt to a pulley with an off-balance weighted flywheel causing the vibration. The sticks, rocks, clumps and larger debris exits at th...
Jean-Paul Sartre and Simone de Beauvoir Screener
Jean-Paul Sartre and Simone de Beauvoir Screener
4:58
Screener for Jean-Paul Sartre and Simone de Beauvoir DVD available online at www.artfilms.com.au Code: SRC-Jean Jean-Paul Sartre (1905-1980) and Simone de Beauvoir (1908-1986), two of the most influential and controversial thinkers of our t...
An Interview with Eugene Ionesco - Screener
An Interview with Eugene Ionesco - Screener
4:30
Film distributed by Contemporary Arts Media www.artfilms.com.au Code: SRC-Ion Eugene Ionesco (1912-1994), the Romanian-born French dramatist, speaks at length about his childhood, his studies, the type of theatre he enjoyed in his youth, hi...
Brook by Brook DVD-2 Screener - Contemporary Arts Media
Brook by Brook DVD-2 Screener - Contemporary Arts Media
3:44
Screener for Brook by Brook distributed worldwide online by Contemporary Arts Media (www.artfilms.com.au). DVD 2 The Tragedy of Hamlet, Director: Peter Brook Famed filmmaker and theatre director Peter Brook, renowned for his innovative and ...
Stock Screener For Forex, Stocks,Futures, Mutual Fund- Online Stock Seminars
Stock Screener For Forex, Stocks,Futures, Mutual Fund- Online Stock Seminars
9:28
tinyurl.com This stock screener /stock market screener /filter can scan a list of forex, stocks, future and mutual funds in any trends. Also learn stock trading from gurus via online trading seminars from this stock trading tool/ package. C...
Commedia by Fava Screener - Contemporary Arts Media
Commedia by Fava Screener - Contemporary Arts Media
6:00
Screener for the film Commedia by Fava - The Commedia dell'arte Step by Step. Commedia dell'Arte as taught by Antonio Fava. The world-famous maestro reveals the characters, movement, masks, and comic scenarios of Commedia dell'A...
Interview with Henry Miller Screener
Interview with Henry Miller Screener
4:19
Screener for Interview with Henry Miller DVD available online at www.artfilms.com.au Code: SRC-Mill In this brilliant interview, Henry Miller (1891-1980) describes the motivation and inspiration that guided his writings. He talks about his ...
Royer 365 Topsoil Shredder/Screener
Royer 365 Topsoil Shredder/Screener
1:25
USED Royer 365 Topsoil Shredder/Screener for sale Website: www.soilshredderparts.com Diesel 4 Cyl Ford Engine Grizzly Bar on hopper to reject large objects Side discharge Conveyor for rocks 2.5 Yard hopper Capacity approx. 75 Cubic yards pe...
Meyerhold's Theater and Biomechanics - Screener
Meyerhold's Theater and Biomechanics - Screener
5:18
Film distributed by Contemporary Arts Media www.artfilms.com.au Code: MB-Mey "Meyerhold! A mix of creative genius and human vulnerability. Innumerable, those in agony over his loss, whom, like myself, loved him endlessly. Innumerable m...
TSA FAIL: Screeners Frequently Miss Fake Bombs During Undercover Tests!
TSA FAIL: Screeners Frequently Miss Fake Bombs During Undercover Tests!
2:58
WASHINGTON — Security screeners at two of the nation's busiest airports failed to find fake bombs hidden on undercover agents posing as passengers in more than 60% of tests last year, according to a classified report obtained by U...
