Academic literature on the topic 'Actor-poet'
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Journal articles on the topic "Actor-poet"
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Deshpande, Sudhanva. "Upside-Down Midas: Habib Tanvir at 80." TDR/The Drama Review 48, no. 4 (2004): 71–80. http://dx.doi.org/10.1162/1054204042441991.
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Keuris, Marisa. "Athol Fugard'sExits and Entrances: The Playwright, the Actor and the Poet." Journal of Literary Studies 24, no. 2 (2008): 71–84. http://dx.doi.org/10.1080/02564710701841452.
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Koptev, L. N. "The duality of Vladimir Vysotsky's “creating soul”." Voprosy kul'turologii (Issues of Cultural Studies), no. 11 (October 7, 2021): 6–14. http://dx.doi.org/10.33920/nik-01-2011-01.
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The “creating soul” of the poet and actor Vysotsky is divided into angelic and demonic. Early showing up demonic more and more captures the power over the poet's self and his work, taking different looks. The choice between creative and destructive forces determines not only the creative, but also the human destiny of Vysotsky.
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Varatharajan, Prithvi. "A Political Radio Poetics: Ouyang Yu’s Poetry and its Adaptation on ABC Radio National’s Poetica." Cultural Studies Review 23, no. 2 (2017): 18–34. http://dx.doi.org/10.5130/csr.v23i2.5050.
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‘Ouyang Yu’ was an episode that aired on ABC Radio National’s 'Poetica', a weekly program broadcast across Australia from 1997 to 2014. The episode featured readings of poetry by the contemporary Chinese-Australian poet Ouyang Yu, read by the poet and by the actor Brant Eustace. These readings were embedded in rich soundscapes, and framed by interviews with the poet on the thematic contexts for the poems. In this article I treat ‘Ouyang Yu’ as an adaptation of Ouyang’s work, in Linda Hutcheon’s sense of the term. I examine how Ouyang’s poetry has been adapted for a national audience, and pay particular attention to how contemporary political discourses of nationhood have influenced the episode’s adaptations. For Poetica existed within an institution—the ABC—whose culture had a bearing on its programming, and the ABC was in turn influenced by, and sought to influence, the wider social and political culture in Australia.
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Harrison, S. J. "Drink, suspicion and comedy in Propertius 1.3." Proceedings of the Cambridge Philological Society 40 (1994): 18–26. http://dx.doi.org/10.1017/s0068673500001802.
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Propertius 1.3 famously begins with the drunken poet returning from a night out to find his puella Cynthia asleep. The sleeping Cynthia is then apparently idealised by the poet through a series of comparisons with mythological heroines, until she wakes up and shows her true and less elevated character, shrewishly nagging the poet for staying out late with another woman, and thereby destroying his illusions. Some of the wit and irony of the situation has been pointed out in previous accounts of the poem; this treatment takes a closer look at the text, especially at the mythical analogues for Cynthia applied at the beginning of the poem, and argues that part of the wit and amusement of the poem derives from its articulation of the poet's suspicions of Cynthia's infidelity. This is not a tragic or dramatic effect, but rather a clever and amusing comedy; the amusing self-characterisation of the poet as a drunken bumbler racked with lust and suspicion is fully consistent with the kind of elegist envisaged by Paul Veyne, who rightly stresses that Roman love-elegy has much more to do with literary entertainment than with the intense analysis of passion. The scene is being narrated by the poet with retrospective wit and irony against himself; to use the convenient terms employed by Winkler in his book on Apuleius, the poet as auctor (writer of the poem) provides an entertaining view of the poet as actor (character in the poem's story).
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Stišović-Milovanović, Ana. "Ljubiša Jocić: Poet above conventions." Bastina, no. 51 (2020): 33–44. http://dx.doi.org/10.5937/bastina30-26991.
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Ljubiša Jocić, a companion of Serbian Surrealism, poet, novelist, narrator, essayist, actor, director, playwrighter, painter, left an insufficiently researched and extensive artistic legacy. In his overall artistic engagement, there is a noticeable motive unity, which is evident through the phenomena of the riddle of Eros, analysis and re-examination of the world and self, fear of evil in all its manifestations, to the search for harmony and original innocence of the world,. precisely in the space of the creative. In primary ideas, as well as in the procedures of building a literary text, Ljubiša Jocić was always outside the dominant poetics and generally accepted, suitable and canonized literary paradigms. The intention of this research is to establish what was the reception of Jocic's work in the reflections of literary critics and theorists, of his time.
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Meloy, J. Reid. "Orestes in Southern California: A Forensic Case of Matricide." Journal of Psychiatry & Law 24, no. 1 (1996): 77–102. http://dx.doi.org/10.1177/009318539602400105.
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The author presents an unusual case study of matricide, one in which the perpetrator, a 33-year-old poet and actor, acted out the role of Orestes in real life. The biogenic basis of his mental illness, schizoaffective disorder, was exacerbated by a developmental trauma—the loss of his father to polio and of his mother to psychosis—as a toddler. The only psychotic avenue to his masculine identification and separation from his mother as an adult was murder.
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Field, Douglas, and Jay Jeff Jones. "Off Beat: Jeff Nuttall and the International Underground: Curating the Counterculture." Bulletin of the John Rylands Library 93, no. 1 (2017): 131–36. http://dx.doi.org/10.7227/bjrl.93.1.6.
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The exhibition Off Beat: Jeff Nuttall and the International Underground (8 September 2016 to 5 March 2017) showcases the archive of Jeff Nuttall (1933–2004), a painter, poet, editor, actor and novelist. As the exhibition illustrates, Nuttall was a central figure in the International Underground during the 1960s through to the early 1970s. During this time he collaborated with a vast network of avant-garde writers from across the globe, as well as editing the influential publication My Own Mag between 1963 and 1967.
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Rusu, Anca-Maria. "Self-disclosure." Theatrical Colloquia 10, no. 1 (2020): 214–17. http://dx.doi.org/10.2478/tco-2020-0016.
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AbstractThe book written by actor-poet Dionisie Vitcu is both a reference book (extremely useful in researching the history of “Vasile Alexandri” National Theater from Iasi, and beyond), as well as a creed. A creed of an outstanding servant of the theater, aware of the ephemerality of the stage performance, and by publishing his book, an opponent of passage of time going into oblivion, an investigator of the deep relationship between individual and collective history. The 300 pages contain a lucid inquiry of the self, in its exemplary artistic becoming.
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PERRIS, SIMON. "Stagecraft and the Stage Building in Rhesus." Greece and Rome 59, no. 2 (2012): 151–64. http://dx.doi.org/10.1017/s0017383512000046.
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In many respects, Rhesus is an unparalleled oddity. Attributed to Euripides, it was (probably) composed in the fourth century BC by a now anonymous poet, and thus (probably) constitutes our only extant fourth-century tragedy. Unlike any other surviving tragedy, it dramatizes an episode narrated in the Iliad and is set wholly at night. It features a fourth speaking actor. Other highlights include a chase scene, Athena imitating Aphrodite's voice, and the only singing goddess (the Muse) in extant tragedy. Such is Rhesus, the strangest, most maligned, least understood of tragedies. In this article, I reconsider one comparatively neglected anomaly among many: the use or otherwise of the stage building.
Dissertations / Theses on the topic "Actor-poet"
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Nishida, Shikiko. "Les "comédiens-poètes" en France du XVIIe siècle." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040113.
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Nous comptons au total vingt-deux « comédiens-poètes », dont deux sont des femmes, entre le dernier tiers du XVIe siècle jusqu’à la fondation de la Comédie-Française en 1680, soit une période de cent ans environ. Afin de comprendre la naissance puis la montée en puissance de cette pratique d’écriture propre aux comédiens, nous commençons à étudier les conditions de création des pièces de Châteauvieux et Hardy au début du siècle. Dans la première partie, nous étudions l’apparition de cette pratique chez les comédiens parisiens dans les années 1640 à travers Desfontaines et Montfleury. Dans la deuxième partie, nous mettons en lumière l’importance du rôle des commandes et des institutions lors de l’émergence des comédiens-poètes itinérants dans les années 1650 et 1662, à travers des recherches archiviques qui nous révèlent les rapports entre Des Carreaux, Dorimond et Rochefort, comédiens-poètes contemporains de Molière, et les commanditaires de fêtes en province. Dans la troisième partie, toujours selon la même méthode, nous suivons principalement l’activité de Dorimond, Rosidor et Rochefort, dans les années 1660. Nous examinons la concurrence qui se joue entre eux à La Haye et à Bruxelles concernant la création de leurs propres pièces et la reprise de pièces d'auteurs, en particulier celles à machines. Dans l’épilogue, nous mettons en lumière la singularité des habitudes de composition chez les comédiens-poètes, qui sont tout à fait différentes de celle des auteurs, à travers l’analyse des ouvrages de Villiers, Madeleine Béjart, La Thorillière, tous comédiens-poètes occasionnels, et nous perçons à jour le secret de la rapidité de composition des comédiens-poètes en général<br>We count in total twenty-two actors-authors, including two women, from the last third part of the XVIth century until the creation of la Comédie-Française in 1680, so upon a hundred years period of time. To understand the birth and then the rising of this actors’ very writting way, we start to study in the prologue Chateauvieux and Hardy’s plays’ first productions’ conditions at the beginning of the century. In the first part, we study the emergence of this practice among parisian actors around 1640 through Desfontaines and Montfleury. In the second part, we light up the important role of plays made to order as well as the institutions while strolling actors-authors emerging in 1650 and 1662. To that purpose we use archivic methods revealing us relationships between Des Carreaux, Dorimond and Rochefort, three contemporaneous actors-authors of Molière, and also provincial parties’ sponsors. In the third part, still with archives’help, we mainly follow Dorimond, Rosidor and Rochefort’s activities around 1660. We study the competition between them in La Haye and Bruxelles regarding their own plays’s first productions as well as authors’plays revival, especially plays with stage effects. In the epilogue, we light up the specificity of the actors-authors writting way, quite different from the authors’way, through the analysis of Villiers, Madeleine Béjart, La Thorillière’s works, all chance actors-authors, and we find out the writting swiftness of actors-authors generally speaking
Books on the topic "Actor-poet"
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Chiles, Rosa Pendleton. John Howard Payne: American Poet, Actor, Playwright, Consul And The Author Of Home, Sweet Home. Kessinger Publishing, LLC, 2006.
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Chiles, Rosa Pendleton. John Howard Payne: American Poet, Actor, Playwright, Consul And The Author Of Home, Sweet Home. Kessinger Publishing, LLC, 2007.
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Pollack, Howard. The Young Writer. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190458294.003.0002.
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This chapter discusses Latouche’s early education. This includes his early artistic interests, and his years at John Marshall High School, during which time he wrote extensively for the school newspaper and acted in school plays. During these early years, he also partook in community theater in Richmond, making a name for himself as an actor. After graduating high school, he attended the Riverdale Country Day School in the Bronx, where he pursued similar activities. Entering Columbia University on scholarship, he distinguished himself as a critic and poet, winning several prestigious awards. But after the success of his columbia Varsity Show, Flair-Flair, for which he wrote the book and lyrics and even some of the music, he dropped out of Columbia to pursue a career on Broadway.
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Sharp, Daniel B. “I Go Against the Grain of Your Memory”. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190842741.003.0004.
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This chapter charts the artistic trajectory of northeastern Brazilian poet, singer, writer, playwright and actor José Paes de Lira, known as Lirinha, situating his experiments as a long-standing attempt to reject and revise the regional folklorism within which audiences and critics often received his performances. The chapter examines Lirinha’s work, both as the visionary behind the nationally acclaimed group Cordel do Fogo Encantado (1998–2010) and in his subsequent musical and theatrical efforts. It also traces Lirinha’s turn away from folklorism as a reaction against narratives of “cultural rescue” that pressured him to uphold static notions of cultural roots. Reinforcing an overarching argument within this volume, Sharp argues that Lirinha’s work is culturally transformative within its particular field of cultural production, even if it is not always audible as experimental.
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Morel, Domingo. Epilogue. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190678975.003.0007.
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On January 18, 2014, Newark was once again at the center of the black political power universe, as it had been in July 1967, when the city hosted the first National Conference on Black Power. This time, generations of activists gathered in Newark to commemorate the life of Amiri Baraka (formerly LeRoi Jones), a poet, an activist, and one of the most influential black political and intellectual figures in the late 20th century. The ceremony was officiated by the actor and activist Danny Glover and included performances and poetry readings, including a poem written by Maya Angelou and read by Sonia Sanchez. The scholar Cornel West also spoke at the funeral, and the Rev. Jesse Jackson spoke to an audience of thousands the night before at Baraka’s wake....
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Leontis, Artemis. Eva Palmer Sikelianos. Princeton University Press, 2019. http://dx.doi.org/10.23943/princeton/9780691171722.001.0001.
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This is the first biography to tell the fascinating story of Eva Palmer Sikelianos (1874–1952), an American actor, director, composer, and weaver best known for reviving the Delphic Festivals. Yet, as this book reveals, Eva's most spectacular performance was her daily revival of ancient Greek life. For almost half a century, dressed in handmade Greek tunics and sandals, she sought to make modern life freer and more beautiful through a creative engagement with the ancients. Along the way, she crossed paths with other seminal modern artists. Eva was a wealthy New York debutante who studied Greek at Bryn Mawr College before turning her back on conventional society to live a lesbian life in Paris. She later followed Raymond Duncan (brother of Isadora) and his wife to Greece and married the Greek poet Angelos Sikelianos in 1907. With single-minded purpose, Eva recreated ancient art forms, staging Greek tragedy with her own choreography, costumes, and even music. Having exhausted her inheritance, she returned to the United States in 1933, was blacklisted for criticizing American imperialism during the Cold War, and was barred from returning to Greece until just before her death. This biography vividly recreates the unforgettable story of a remarkable nonconformist whom one contemporary described as “the only ancient Greek I ever knew.”
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Atkins, Joseph B. Harry Dean Stanton. University Press of Kentucky, 2020. http://dx.doi.org/10.5810/kentucky/9780813180106.001.0001.
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Harry Dean Stanton (1926--2017) got his start in Hollywood in TV productions such as Zane Grey Theater and Gunsmoke. After a series of minor parts in forgettable westerns, he gradually began to get film roles that showcased his laid-back acting style, appearing in Cool Hand Luke (1967), Kelly's Heroes (1970), The Godfather: Part II (1974), and Alien (1979). He became a headliner in the eighties -- starring in Wim Wenders's moving Paris, Texas (1984) and Alex Cox's Repo Man (1984) -- but it was his extraordinary skill as a character actor that established him as a revered cult figure and kept him in demand throughout his career. Joseph B. Atkins unwinds Stanton's enigmatic persona in the first biography of the man Vanity Fair memorialized as "the philosopher poet of character acting." He sheds light on Stanton's early life in West Irvine, Kentucky, exploring his difficult relationship with his Baptist parents, his service in the Navy, and the events that inspired him to drop out of college and pursue acting. Atkins also chronicles Stanton's early years in California, describing how he honed his craft at the renowned Pasadena Playhouse before breaking into television and movies. In addition to examining the actor's acclaimed body of work, Atkins also explores Harry Dean Stanton as a Hollywood legend, following his years rooming with Jack Nicholson, partying with David Crosby and Mama Cass, jogging with Bob Dylan, and playing poker with John Huston. "HD Stanton" was scratched onto the wall of a jail cell in Easy Rider (1969) and painted on an exterior concrete wall in Drive, He Said (1971). Critic Roger Ebert so admired the actor that he suggested the "Stanton-Walsh Rule," which states that "no movie featuring either Harry Dean Stanton or M. Emmet Walsh in a supporting role can be altogether bad." Harry Dean Stanton is often remembered for his crowd-pleasing roles in movies like Pretty in Pink (1986) or Escape from New York (1981), but this impassioned biography illuminates the entirety of his incredible sixty-year career. Drawing on interviews with the actor's friends, family, and colleagues, this much-needed book offers an unprecedented look at a beloved figure.
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Goss, Nina, and Eric Hoffman, eds. Tearing the World Apart. University Press of Mississippi, 2017. http://dx.doi.org/10.14325/mississippi/9781496813329.001.0001.
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Bob Dylan is many things to many people. Folk prodigy. Rock poet. Quiet gentleman. Dionysian impresario. Cotton Mather. Stage hog. Each of these Dylan creations comes with its own accessories, including a costume, a hairstyle, a voice, a lyrical register, a metaphysics, an audience, and a library of commentary. Each Bob Dylan joins a collective cast that has made up his persona for over fifty years. No version of Dylan turns out uncomplicated, but the postmillennial manifestation seems peculiarly contrary—a tireless and enterprising antiquarian; a creator of singular texts and sounds through promiscuous poaching; an artist of innovation and uncanny renewal. This is a Dylan of persistent surrender from an engagement with a world he perceives as broken and enduring, addressing us from a past that is lost and yet forever present. This book participates in the creation of the postmillennial Bob Dylan by exploring three central records of the twenty-first century along with the 2003 film Masked and Anonymous, which Dylan helped write and in which he appears as an actor and musical performer. The book does justice to this difficult Bob Dylan by examining his method and effects through a disparate set of viewpoints. Readers will find a variety of critical contexts and cultural perspectives as well as a range of experiences as members of Dylan's audience.
Book chapters on the topic "Actor-poet"
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Sansonetti, Laetitia. "Poetic Authority in Julius Caesar: The Triumph of the Poet-Playwright-Actor." In Shakespeare and Authority. Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-137-57853-2_11.
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Cordones-Cook, Juanamaría. "Estévez’s Artistic Journey." In Handmade in Cuba, translated by Gómez Alvarez María Josefa and Juanamaría Cordones-Cook. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9781683401520.003.0005.
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In Chapter 4, Cordones-Cook’s biographical profile presents Estévez as many artists: actor, set designer, poet, painter, book-maker, and performance artist, as well as cultural activist. The biography spans from childhood to professional success and lasting legacy. Cordones-Cook discusses Vigía’s bricolage book production and its aesthetics nurtured by various distinguished artistic traditions as envisioned by Estévez. In addition, she comments on Estévez’s creation of one-of-a-kind books, installations, set designs, and performances.
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Hersh, James. "Austin’s Ditch." In The Paideia Archive: Twentieth World Congress of Philosophy. Philosophy Documentation Center, 1998. http://dx.doi.org/10.5840/wcp20-paideia199841742.
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This essay seeks to show that there are political implications in Jacques Derrida’s critique of J.L. Austin’s notion of performative speech. If, as Derrida claims and Austin denies, performative utterances are necessarily "contaminated" by that which Austin refuses to consider (the speech of the poet and the actor in which literal force is never intended), then what are the implications for the speech acts of the state? Austin considers the speech acts of the poet and the actor to be "parasites" or "ordinary language," "nonserious," and would relegate such speech to a region beyond his consideration, to a "ditch" outside the border of meaning for the performative. Derrida argues that the "contamination" Austin fears for language is necessary for its very performativity. If Derrida is correct, then the performative utterances of the state (e.g. the decree of the judge, "I sentence you...") from the biases of racial or sexual identity is also based upon an impossible desire, a desire that goes against the manner in which language functions. I argue that this desire for a just state cannot be satisfied unless racial and sexual identity is viewed not as "parasitic" and "poetic," but as necessary to the performativity of the state’s liberal power.
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Lerner, Robert E. "“Leisure with Dignity”." In Ernst Kantorowicz. Princeton University Press, 2018. http://dx.doi.org/10.23943/princeton/9780691183022.003.0014.
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This chapter details events in Ernst Kantorowicz's life in 1937. Among these is the publication of his essay entitled “The Return of Learned Reclusiveness in the Middle Ages.” The piece did not engage in scholarly debate. Rather, it expatiated on the revival of a classical ideal: Ciceronian otium cum dignitate: “leisure with dignity.” Kantorowicz identified Abelard as the first to return to reclusiveness as a means for pursuing a life of learning, but he acknowledged that Abelard's reclusiveness remained monastic or ascetic and that when he spoke of pursuing philosophy he ultimately meant theology. The main actor in Kantorowicz's story was Petrarch, who sought to live as a philosopher, scholar, and poet away from the madding crowd and whose solitude was to be spent to be in comfortable withdrawal.
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Ruiz, Sandra. "Countdown to the Future." In Ricanness. NYU Press, 2019. http://dx.doi.org/10.18574/nyu/9781479888740.003.0004.
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This chapter focuses on the work of “the poet laureate of the Nuyorican Poets” Pedro Pietri, particularly his experimental and existential one-act endurance play The Masses Are Asses. In Pietri’s crude play, events occur in timed sequences that repeat and loop back on themselves, and become clear indicators of the colonial time of dread. Pietri tackles socioeconomic issues such as poverty and imperialism, the bourgeoisie’s control of mankind, and domestic and gender violence. Through these hardships, the author argues, the reader is led into the cramped space of colonial violence doubling as a bathroom. This play invites the audience to read the text temporally, through the tempo of dread—such that a piece with only two general characters, Lady and Gentleman, makes Time the third actor. Endurance, here, operates as a hardening and precipitation of being, one animated by the intimacies of vulgarity in Pietri’s social drama.
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Thayer, Willy. "Critique as the Unworking of Theater." In Technologies of Critique, translated by John Kraniauskas. Fordham University Press, 2020. http://dx.doi.org/10.5422/fordham/9780823286744.003.0029.
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This chapter focuses on “The Author as Producer,” where Walter Benjamin sets out the demand, the artistic, or political coefficient that Bertold Brecht made of author-actors and of critics. It looks at the ways illusions are nourished in situ without interruption that represents a highly disputable activity and even more so if the materials enhancing such fascination present themselves as revolutionary in nature. The chapter also analyzes Edgar Allan Poe's works that suggest writing a poem is conceived as an absolute commodity that defines beforehand the points of sensibility upon which the poem must act so as to absolutely fascinate. It emphasizes how fascination is what any commodity tautologically seeks rather than to awaken or establish a distance. The author, the director, the actor, and the modern poet hope to exercise the power of reverie in which the spectators embody their hopes in order to satisfy them passionately.
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Winkler, Martin M. "MGM’s Quo vadis." In The Novel of Neronian Rome and its Multimedial Transformations. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198867531.003.0013.
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The 1951 epic Quo Vadis, directed by Mervyn LeRoy, is the most famous adaptation of Henryk Sienkiewicz’s novel and eclipsed all earlier and later versions made between 1912 and 2001. This chapter is intended to illustrate the complexity of the Quo vadis (novel)/Quo Vadis (film) phenomenon by examining a few representative strands. To a large extent, credit for the impact of Quo Vadis belongs to actor Peter Ustinov, who made Rome’s most notorious emperor more familiar to viewers than any other actor has managed to do, especially through his portrayal of Nero as poet and musician. Ancient sources commenting on Nero as performer differ from what cinemagoers saw and heard in 1951. The spectacular climax of novel and film is set in the arena. Quo Vadis radically changed Sienkiewicz’s conception, which had been preserved, albeit in abbreviated form, in earlier films and would be presented at length only in 2001. By contrast, the Italian television adaptation of 1985 is a variation on the MGM version. The parallels to Sienkiewicz’s strongman Ursus in and beyond all these films are particularly illuminating. The title of Sienkiewicz’s novel, which quotes the Apostle Peter’s question to an apparition of his Lord, became a household phrase and has been applied in countless contexts since; a few telling instances are considered here. The chapter concludes with brief comments on the recent parody-plus-homage to Quo Vadis in the Coen brothers’ Hail, Caesar! (2016).
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Radziechowski, Dariusz. "„Duchowe przetrwanie czasów najcięższych” według Romana Ingardena i Karola Wojtyły." In Horyzonty wolności. Uniwersytet Papieski Jana Pawła II w Krakowie. Wydawnictwo Naukowe, 2019. http://dx.doi.org/10.15633/9788374388320.11.
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The subject of this article is the works of Roman Ingarden and Karol Wojtyła in the years of the Second World War and post-war occupied Poland. Ingarden – as a professor of philosophy – worked during the war on his work entitled Controversy over the Existence of t h e Wo r l d. Wojtyła started then his studies that were disrupted by the war. He was a poet, actor and alumnus of secret Seminary of Cracow Archdiocese since 1942. Ingarden and Wojtyła formed close relationship in the mid-1960s. What is similar, even during the war, in their thoughts is phenomenological philosophy and belief in the power of spirit of resis-tance not only in armed struggle, but also in that what is spiritual: science, culture and art.This article is structurally divided into three fundamental parts. The first part refers to Ingarden, the second part to Wojtyła and the third part to proper remembering and not forgetting historical experiences of struggle for independence of Poland.
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Zukin, Sharon. "Why Harlem Is Not a Ghetto." In Naked City. Oxford University Press, 2010. http://dx.doi.org/10.1093/oso/9780195382853.003.0008.
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It’s noon on a warm Saturday in the middle of June, and a bright sun is shining on Settepani Bakery’s sidewalk café at 120th Street and Lenox Avenue. You didn’t think to bring sunscreen to eat brunch in Harlem, so you choose a table under the red awning, put on your dark glasses, and settle down to read the menu. The small, square, white tables and lightweight aluminum chairs remind you of cafés in Italy or Greenwich Village, and the dishes on the menu also inspire dreams of other places. Smoked turkey panini with brie on pumpernickel bread. Mozzarella, tomatoes, and basil on rosemary focaccia. Bucatini pasta with an almond, basil, and tomato pesto. Cappuccino and latte, of course, but also decaf Masala chai. You understand why Settepani is popular among Harlem’s new movers and shakers. You’ve heard that Maya Angelou, the distinguished poet, playwright, and actor, who lives in a restored brownstone townhouse nearby, often has lunch here. The famous basketball champion and author Kareem Abdul-Jabbar has been seen walking by. The restaurant’s website lists former president Bill Clinton, whose office is on 125th Street, as a corporate customer. And when your graduate students stop in for coffee while doing a research project for your class, they meet Daniel Tisdale, the founder and publisher of Harlem World magazine, who is having a business meeting a few tables away, and Eric Woods, the chief financial officer of Uptown magazine and cofounder of Harlem Vintage, the neighborhood’s first wine store. Harlem has other well-known restaurants: the venerable Sylvia’s, the soul food restaurant that is on every tourist itinerary and sells its own bottled sauces; M&G Diner, known for its smothered pork chops, collard greens, and candied yams; and Amy Ruth’s, offering dishes named for local celebrities, like the waffles and bacon that honor retired police chief Joseph Leake and the chicken and waffles that pay tribute to the Rev. Al Sharpton, a friend of the former owner.