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"Manheim, Michael"
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The Cambridge Companion to Eugene O'Neill
This is a volume of specially commissioned essays containing studies of Eugene O'Neill's life, his intellectual and creative forebears, and his relation to the theatrical world of his creative period, 1916–42. Also included are descriptions of the O'Neill canon and its production history on stage and screen, and a series of essays on 'special topics' related to the playwright, such as his treatment of women in the plays, his portrayals of Irish and African Americans, and his attempts to deal in dramatic terms with his parental family culminating in his greatest play, Long Day's Journey Into Night. One of the essays speaks for those who are critical of O'Neill's work, and the volume concludes with an essay on O'Neill criticism containing a select bibliography of full-length studies of the playwright's work.
eBook
The neverending story
Shy, awkward Bastian is amazed to discover that he has become a character in the mysterious book he is reading and that he has an important mission to fulfill.
Book
Blues Musicians of the Mississippi Delta
The Mississippi Delta blues run as deep and mysterious as the beautiful land from where the music originates. Blues legends B.B. King, Muddy Waters, John Lee Hooker, Howlin' Wolf, Sonny Boy Williamson, and countless other greats came from this region. The Delta blues, born as work songs in Mississippi cotton fields, was played on city street corners and in rural juke joints. With the Great Migration of African Americans in the first half of the 20th century, the Delta blues also made its way from Mississippi to Chicago. The sound of the blues would become the blueprint for the birth of rock and roll in Memphis in the 1950s. The era of the great Delta blues musicians is over, but their legacy remains an important chapter in American music. This book contains images of these important performers and the rich Delta landscapes that influenced their music.
eBook
The Function of Battle Imagery in Kurosawa's Histories and the \Henry V\ Films
In fact, both seem equally Shakespearean, in the very free way Kurosawa adapts Shakespeare to Japanese history and culture-and one need only go back to his highly adapted Macbeth, his Throne of Blood, to illustrate the license with which the filmmaker treats Shakespeare.2 My theme in comparing the way Kurosawa treats war in these films to the way Olivier and Branagh treat war in their Henry V films, is to put forward some tentative ideas about the different purposes the Japanese and English directors had in making their films, differences which grow in some measure out of the dramatic material they are using, but also in part out of implicit differences in their outlooks on war and national honor. Few movies about medieval warfare have ever been so filled with magnificence in color and design as Kurosawa's two history films of the 1980s.3 The rows on rows of cavalry \"bewitching the world with noble horsemanship,\" the brilliant ensigns in their primary colors representing the different noble houses, the incomparable swiftness of the warriors in their movements and their swordplay, the peremptory long-distance shouts, the precision of the gunfire, the instantaneous obedience of the foot soldiers to their commanders: all bespeak the beauty, glory, and efficiency of an elegant warfare, even in defeat.
Journal Article
