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Relevant bibliographies by topics / Streisand, Barbra

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Academic literature on the topic 'Streisand, Barbra'

Author: Grafiati

Published: 4 June 2021

Last updated: 7 February 2022

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Journal articles on the topic "Streisand, Barbra"

1

Fernley, Allison, and Paula Maloof. ": Yentl . Barbra Streisand." Film Quarterly 38, no. 3 (1985): 38–46. http://dx.doi.org/10.1525/fq.1985.38.3.04a00070.

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Barbosa, Heloiza Montenegro, and Karine da Rocha Oliveira. "Papa, Watch Me Fly." Arquivo Maaravi: Revista Digital de Estudos Judaicos da UFMG 14, no. 27 (2020): 51–62. http://dx.doi.org/10.35699/1982-3053.2020.25601.

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Este artigo analisa o filme Yentl, de 1983 – protagonizado e dirigido por Barbra Streisand – inspirado no conto de mesmo nome de Isaac Bashevis Singer, enquanto quebra de paradigma, ao colocar uma mulher em posição de poder e de dona de seu próprio destino num ambiente religioso onde a posição da mulher é restrita, conectando com o trabalho da própria Barbra Streisand, enquanto protagonista e diretora do filme, além de observar como o papel de Streisand enquanto diretora abriu espaço para outras que vieram posteriormente, deixando – ainda mais – seu nome marcado na história do cinema.

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Fernley, Allison, and Paula Maloof. "Review: Yentl by Barbra Streisand." Film Quarterly 38, no. 3 (1985): 38–46. http://dx.doi.org/10.2307/1212542.

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4

Abrams, Nathan. "Barbra Streisand: Redefining Beauty, Femininity, and Power." Jewish Quarterly 63, no. 3 (2016): 68. http://dx.doi.org/10.1080/0449010x.2016.1231766.

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Whitfield, Stephen J. "Barbra Streisand: redefining beauty, femininity, and power." Journal of Modern Jewish Studies 18, no. 2 (2019): 247–48. http://dx.doi.org/10.1080/14725886.2019.1594077.

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Brook, Vincent. "Chameleon Man and Unruly Woman: Dustin Hoffman and Barbra Streisand." Shofar: An Interdisciplinary Journal of Jewish Studies 33, no. 1 (2014): 30–56. http://dx.doi.org/10.1353/sho.2014.0070.

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Wessely, Simon, Glyn Lewis, and Andrew Weiner. "‘You don't read my papers anymore’: an investigation into the use of Barbra Streisand song titles in the psychiatric literature." Psychiatric Bulletin 29, no. 1 (2005): 35. http://dx.doi.org/10.1192/pb.29.1.35-a.

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Izzet, Vedia, and Robert Shorrock. "General." Greece and Rome 60, no. 1 (2013): 179–83. http://dx.doi.org/10.1017/s0017383512000356.

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‘Classics, is, to me, the unicycle of education. It isn't especially practical or useful… It won't get you a well-paid job in a fancy office, and it won't necessarily make you attractive to the opposite sex… But none of that is important compared with the simple fact that studying Classics is brilliant’ (253). So says comedian (and former Cambridge classicist) Natalie Haynes on her own one-wheeled whistle-stop tour of the classical world: The Ancient Guide to Modern Life. Haynes is an intelligent guide with a real passion for the Classics and a great sense of humour. The index gives a good ind

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Alexander, Michael Scott. "Jewhooing the Sixties: American Celebrity and Jewish Identity—Sandy Koufax, Lenny Bruce, Bob Dylan, and Barbra Streisand by David E. Kaufman." American Jewish History 98, no. 2 (2014): 79–81. http://dx.doi.org/10.1353/ajh.2014.0015.

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Louw, André M. "What Intellectual Property Lawyers can learn from Barbra Streisand, Sepp Blatter, and the "Coca-Cola Cry-Baby": Dealing with "Trademark Bullying" in South Africa." Potchefstroom Electronic Law Journal/Potchefstroomse Elektroniese Regsblad 16, no. 5 (2017): 1. http://dx.doi.org/10.17159/1727-3781/2013/v16i5a2430.

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This article suggests some pause for reflection amongst intellectual property lawyers, and for serious consideration of the words of an internationally-renowned IP law expert: "Possessing a right does not mean that it is a good idea to enforce it always, and to the hilt. Discretion may be nine parts of possession". It provides some prominent, recent examples of trademark bullying or overly-aggressive enforcement in the IP law context. These examples are mainly from other jurisdictions but they are directly relevant to some of the IP law challenges present in South Africa at the moment. The art

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Dissertations / Theses on the topic "Streisand, Barbra"

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Carlin, Abigail. "Let Us Now Praise Famous Women: Deborah Kass’s The Warhol Project (1992–2000)." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1243344700.

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Books on the topic "Streisand, Barbra"

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Signorelli-Pappas, Rita. Barbra Streisand. Chelsea House Publishers, 1996.

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Yapp, Nicholas. Barbra Streisand. Endeavour, 2009.

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Gerber, Françoise. Barbra Streisand. Fabre, 1988.

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4

The Barbra Streisand scrapbook. Carol Pub., 1995.

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5

Barbra Streisand: A biography. R. Hale, 1991.

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6

Carrick, Peter. Barbra Streisand: A biography. Charnwood, 1993.

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7

Nickens, Christopher. The films of Barbra Streisand. Citadel Press, 2000.

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8

Mann, William J. Hello, gorgeous: Becoming Barbra Streisand. Thorndike Press, 2012.

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9

Karen, Swenson, ed. The films of Barbra Streisand. Carol Pub., 1998.

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10

Hello, gorgeous: Becoming Barbra Streisand. Houghton Mifflin Harcourt, 2013.

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Book chapters on the topic "Streisand, Barbra"

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"STREISAND, BARBRA." In Music in the 20th Century (3 Vol Set). Routledge, 2016. http://dx.doi.org/10.4324/9781315702254-454.

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Mordden, Ethan. "Streisand’s Recordings." In On Streisand. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190651763.003.0004.

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This chapter focuses on Barbra Streisand’s music recordings, beginning with The Barbra Streisand Album and The Second Barbra Streisand Album, both in 1963, followed by The Third Album a year later. Streisand’s first recital disc showcased her versatility, theatrics, bravado, humor, and unpredictability, which were evident in her renditions of “Cry Me a River,” “My Honey’s Loving Arms,” “I’ll Tell the Man In the Street,” and “A Taste of Honey.” The chapter also offer a commentary on Streisand’s next two albums as well as other recitals such as People (1964), What About Today? (1969), Stoney End (1971), ButterFly (1974), Lazy Afternoon (1975), Classical Barbra (1976), Guilty (1980), The Broadway Album (1985), Higher Ground (1997), A Love Like Ours (1999), Christmas Memories (2001), Partners (2014), and Encore (2016).

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Mordden, Ethan. "Streisand’s Television." In On Streisand. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190651763.003.0003.

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This chapter focuses on Barbra Streisand’s television specials, beginning with My Name Is Barbra in 1965 that catapulted her as a full-fledged national star. In My Name Is Barbra, Streisand’s singing style reflected the different modes she had been using, from the liberty of jazz singing to the power-ballad style epitomized in her “People,” along with her comic voice for the children’s numbers. It also showcased her versatility. The chapter discusses Streisand’s other television shows, including Color Me Barbra (1966), The Belle Of Fourteenth Street (1967), A Happening in Central Park (1968), and Barbra Streisand … And Other Musical Instruments (1973). It also considers Streisand’s return to live concertizing via Live at the Arrowhead Pond, Anaheim (1994), along with another television concert held in Fort Lauderdale, Florida: Live in Concert 2006.

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Mordden, Ethan. "Streisand’s Theatre." In On Streisand. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190651763.003.0002.

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This chapter focuses on Barbra Streisand’s career in theater, beginning with her 1961 debut in New York via Another Evening With Harry Stoones followed by her very first Broadway role in I Can Get It For You Wholesale in 1962. Whereas Another Evening With Harry Stoones did nothing for Streisand, I Can Get It For You Wholesale gave the character “Miss Marmelstein” as Streisand’s breakout musical spot. The following year, 1963, Streisand’s first two albums were released, and in 1964, Streisand starred in her second Broadway appearance, Funny Girl, for which she was nominated for Best Performance by a Leading Actress in a Musical.

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Mordden, Ethan. "An Introduction to Streisand’s Life and Work." In On Streisand. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190651763.003.0001.

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This chapter introduces the reader to Barbra Streisand’s life and work, focusing on how being a singer and an actor, separately and together, have characterized her career. It first provides a background on Streisand’s family and early childhood as well as her determination to get into acting before focusing on her early mentors, including actor Barry Dennen, Peter Daniels, Allan Miller, and Martin Erlichman. It then considers how Streisand started as a singer and went on to establish an acting and a singing career on Broadway, first with a supporting role in I Can Get It For You Wholesale, and how she was signed by Columbia Records. It also examines how Funny Girl gave Streisand a new-star-in-town triumph, her free concert A Happening in Central Park, and some of the films she made such as The Way We Were, A Star Is Born, and Yentl. Finally, it mentions Streisand’s affair with hair-salon entrepreneur Jon Peters.

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Mordden, Ethan. "Streisand’s Cinema." In On Streisand. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190651763.003.0005.

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This chapter focuses on Barbra Streisand’s movies, beginning with Funny Girl in 1968 followed by Hello, Dolly! a year later. A roadshow release, Funny Girl dropped eight of the numbers, including the best title, “The Music That Makes Me Dance,” but added three songs associated with Fanny Brice, the most notable of which is her “autobiography” piece, “My Man.” Hello, Dolly! is considered one of Streisand’s best portrayals. The chapter also offers a commentary on Streisand’s third film, On a Clear Day You Can See Forever (1970), along with other projects such as The Owl and the Pussycat (1970), What’s Up, Doc? (1972), Up the Sandbox (1972), The Way We Were (1973), For Pete’s Sake (1974), A Star Is Born (1976), The Main Event (1979), Yentl (1983), The Prince Of Tides (1991), The Mirror Has Two Faces (1996), and The Guilt Trip (2012).

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7

Heilpern, John. "Peter Brook, Barbra Streisand, and Me." In How Good is David Mamet, Anyway? Routledge, 2013. http://dx.doi.org/10.4324/9781315023052-9.

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8

Goldman, Shalom. "Cross-Cultural Admiration and Upheaval." In Starstruck in the Promised Land. University of North Carolina Press, 2019. http://dx.doi.org/10.5149/northcarolina/9781469652412.003.0008.

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This chapter details Israel’s embrace by American pop cultural divas Madonna, Whitney Houston, and Barbra Streisand even as American criticism of Israel built to a higher pitch. It The pages also explore the increasing ambiguity of outlook on Israel by various American celebrities, including one-time supporter Stevie Wonder, and continued supporters Bob Dylan and Paul McCartney. Finally, it presents Israel’s fierce response to its perceived critics, both political and cultural, including President Jimmy Carter and the controversial opera The Death of Klingoffer.

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Zeitlin, Steve. "Your Body as Symbol." In The Poetry of Everyday Life. Cornell University Press, 2016. http://dx.doi.org/10.7591/cornell/9781501702358.003.0017.

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This chapter argues that the poetry of everyday life is all about the use of symbols, that the decisions we make about what to do with our own dead bodies symbolize how we have viewed our lives. We become our own memorabilia. The chapter considers the trend towards cremation in America and the creative ways of dispersing the ashes. Dick Falk, a well known PR man who worked with Barbra Streisand in her early years, ran a side business of scattering people's ashes over Manhattan in the 1950s and 1960s. He would pour the ashes from the crematorium's metal box or plain brown packaging to a more easily managed container.

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Meizel, Katherine. "Voice and Disjuncture in Celebrity Impersonation." In Multivocality. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190621469.003.0004.

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Las Vegas is a reflection of neoliberal globalization—not only in its collection and display of global imagery but also in its shift from mob-dependent finances to late 20th-century corporate capitalism (Ventura 2012: 46). The topography of the world captured in a souvenir snow globe, the city offers visitors a set of intertwined performative layers, a collection of façades and masquerades that shape the city’s distinctive character. Theatrical transvestism in Vegas has performed and celebrated many permutations of difference (a Black Elvis, a male Barbra Streisand), at once underlining and undermining the fluidity of identity. Chapter 3 details the ways in which such disjunctures between bodies and voices—gendered, disabled, racialized—are manipulated by Vegas celebrity impersonators, and how they paradoxically contribute to the construction of these performers’ own identities.

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