Documents found
-
-
-
-
-
3585.
-
3587.More information
In my 20,762-word essay, I present an ambitious account of the life and work of the American Jesuit Renaissance specialist and cultural historian and pioneering media ecology theorist Walter J. Ong (1912-2003; Ph.D. in English, Harvard University, 1955). In addition, I succinctly highlight two books by the Canadian Catholic philosopher Charles Taylor (born in 1931; doctorate in philosophy, Oxford University, 1961): (1) The Language Animal: The Full Shape of the Human Linguistic Capacity (2016); and (2) Cosmic Connections: Poetry in the Age of Disenchantment (2024) – both published by Belknap Press of Harvard University Press. In my discussion of Taylor’s new 2024 book Cosmic Connections, I especially highlight his chapters on Gerard Manley Hopkins and T. S. Eliot. In the text of my lengthy essay (pp. 1-44), I frequently list related works of interest. I hope that you feel the force of my associations. In any event, my alphabetized list of “References” at the end of my essay is rather lengthy (pp. 45-56).
-
3590.More information
Portuguese Manoel de Oliveira was the dean of directors until his recent passing at the venerable age of 106. Following a very early interest in theater and in the exact opposite of the realistic depictions taught at the Actors Studio, he made movies from selected literary works by such Portuguese authors as Camilo Castelo Branco (a 19th century novelist), José Régio and Raul Brandão (two 20th century writers). Manoel de Oliveira adapted the latter's O Gebo e a Sombra (Gebo and the Shadow)and presented it as a non-competitive entry in the Venice Film Festival in 2012. He also turned into movies selected works by such French literary luminaries as Flaubert (as recast by novelist Agustina Bessa-Luís), Madame de Lafayette or Claudel. This essay will focus on his French cinematic adaptation of Claudel's play titled The Satin Slipper. The seven-hour long movie is rather faithful to the original text and its premiere screening took place in a (non-movie) theater in 1985. This essay will delve into the transition from the stage to a non-realistic screen world that depicts every single artefact, trick and convention known to stage actors.