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Journal articles on the topic 'William Saroyan'

Author: Grafiati

Published: 9 March 2023

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1

Foster, Edward Halsey. "Births by William Saroyan, and The New Saroyan Reader: A Connoisseur’s Anthology of the Writings of William Saroyan by William Saroyan." Western American Literature 20, no. 4 (1986): 369–70. http://dx.doi.org/10.1353/wal.1986.0151.

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2

Bedrosian, M. "William Saroyan in California." California History 68, no. 4 (December 1, 1989): 202–9. http://dx.doi.org/10.2307/25158538.

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3

Jiji, Vera M. "WILLIAM SAROYAN: A REFERENCE GUIDE." Resources for American Literary Study 17, no. 1 (1990): 155–58. http://dx.doi.org/10.2307/26366712.

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4

Jiji, Vera M. "WILLIAM SAROYAN: A REFERENCE GUIDE." Resources for American Literary Study 17, no. 1 (1990): 155–58. http://dx.doi.org/10.2307/resoamerlitestud.17.1.0155.

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5

Grecco, Stephen, and Nona Balakian. "The World of William Saroyan." World Literature Today 72, no. 4 (1998): 839. http://dx.doi.org/10.2307/40154350.

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6

Connolly, Thomas F. "William Saroyan’s The Human Comedy and MGM’s vanished American pastoral." Journal of Adaptation in Film & Performance 15, no. 3 (December 1, 2022): 173–89. http://dx.doi.org/10.1386/jafp_00077_1.

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William Saroyan’s novel The Human Comedy () may be the first significant American novel adapted from a screenplay. The author had been contracted to create a film for MGM, but with representative Hollywood chicanery, Saroyan was done out of his manuscript and had to settle for a mere ‘from the story by’ credit. No film crystallizes the MGM vision of America while implying the promises of readjustment to come when the war is over more completely than The Human Comedy. Louis B. Mayer believed it was the greatest film ever produced by MGM. It had a tremendous impact at the time; even critics who lambasted its sentimentality could not deny its melodramatic power. In a marketing twist, the film was advertised as being based on ‘Saroyan’s great novel’ even though the novel had not yet been published. The film may be dated and neglected, but the novel remains in print and is among Saroyan’s most important works. The film and novel retain the screenplay’s extensive dialogue and both raise questions about cinematic and literary narrative.

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7

Belkind, A., and David Stephen Calonne. "William Saroyan: My Real Work Is Being." World Literature Today 59, no. 1 (1985): 102. http://dx.doi.org/10.2307/40140669.

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8

Wild, Peter. "Madness in the Family by William Saroyan." Western American Literature 23, no. 3 (1988): 283. http://dx.doi.org/10.1353/wal.1988.0195.

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9

Gudkov, Maxim M. "“People of an Uncertain Existence”: The First Soviet Productions of William Saroyan’s Play My Heart’s in the Highlands." Literature of the Americas, no. 9 (2020): 208–35. http://dx.doi.org/10.22455/2541-7894-2020-9-208-235.

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Several plays by William Saroyan written in the mid-1930s reached the Soviet stage only during the Khrushchev Thaw, in the early 1960s. The paper focuses on the first Soviet productions of Saroyan’s play My Heart’s in the Highlands, premiered in Armenian (Yerevan) in 1961, and in 1962 staged in Russian by the Mayakovsky Moscow Theatre. The paper analyses the reasons for such a late appearance of Saroyan’s dramas on the Russian stage, traces how Saroyan’s trip to the USSR in 1960 prompted the staging of his work in Armenia’s capital, which thereon paved the way for its Moscow production. The theatrical history of Saroyan’s work in the USSR is viewed in a wide social, political and cultural Soviet-American macro-context during the Cold War. The paper based on the rare materials from the museum of the Mayakovsky Moscow Theatre, focuses on the reception of the play and its production in the Soviet Union. The director Ya.S. Tsitsinovski strove to transmit the elevated, poetic spirit of Saroyan’s work and find a vivid expressive form, which was not typical for the Mayakovsky Theatre of N.P. Okhlopkov’s time. Its appearance on the Moscow stage in 1962 marked the beginning of the scene history of the American author’s drama in our country. The paper is aimed at reconstructing the theatrical history of Saroyan’s plays in the USSR.

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10

Shear, Walter. "William Saroyan: My Real Work Is Being by David Stephen Calonne." Western American Literature 19, no. 4 (1985): 331–33. http://dx.doi.org/10.1353/wal.1985.0065.

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11

Ghoogasian, Aram. "What is Armenia to Me? Diasporicity in the Works of William Saroyan." Études arméniennes contemporaines, no. 13 (September 1, 2021): 183–205. http://dx.doi.org/10.4000/eac.2615.

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12

Barth, Daniel. "William Saroyan: A Study of the Short Fiction by Edward Halsey Foster." Western American Literature 28, no. 1 (1993): 80–81. http://dx.doi.org/10.1353/wal.1993.0109.

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13

Mason, Jeffrey D. "MADNESS IN THE FAMILY and WILLIAM SAROYAN: THE MAN AND THE WRITER REMEMBERED." Resources for American Literary Study 17, no. 1 (1990): 151–55. http://dx.doi.org/10.2307/26366711.

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14

Mason, Jeffrey D. "MADNESS IN THE FAMILY and WILLIAM SAROYAN: THE MAN AND THE WRITER REMEMBERED." Resources for American Literary Study 17, no. 1 (1990): 151–55. http://dx.doi.org/10.2307/resoamerlitestud.17.1.0151.

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15

Епремян, Л. К. "ОБРАЗ ОТЦА В ПРОИЗВЕДЕНИЯХ И В ЖИЗНИ ВИЛЬЯМА И АРАМА САРОЯНОВ." Modern Psychology 2, no. 3 (5) (September 27, 2019): 123–29. http://dx.doi.org/10.46991/sbmp/2019.2.2(5).123.

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В статье с позиций психоанализа прослежена проблематика сложных взаимоотношений отца и сына Сароянов, Вильяма и Арама, которая нашла отражение в их литературных произведениях – «Dier Baby», «Mama I Love You», «Papa You're Crazy», «My Name Is Aram», «Brief to Armenak from Bitlis» и др. В. Сарояна и «Last Rites: The Death of William Saroyan» Арама Сарояна. Психоанализ впервые актуализовал проблему трансгенера- ционной травмы. Травма геноцида армян по-разному проявилась в представителях двух поколений одной семьи, став главной причиной их взаимного отчуждения. Мистический «призрак» отца Арменака в сознании Вильяма, постоянное ожидание возвращения идеального Отца, его идентификация с сыном Арамом и невозможность соединения образа Отца и не соответствующего его ожиданиям сына Арама приводят к конфликту длиной в целую жизнь героев.

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16

Ferme, Valerio C. "Che ve ne sembra dell'America?: Notes on Elio Vittorini's Translation Work and William Saroyan." Italica 75, no. 3 (1998): 377. http://dx.doi.org/10.2307/480057.

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17

Pereira, Deize Crespim. "O genocídio armênio e seus reflexos na literatura." Revista de Estudos Orientais, no. 8 (December 31, 2010): 91–105. http://dx.doi.org/10.11606/issn.2763-650x.i8p91-105.

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The history of Armenia in the 20th century is marked by a tragedy: the genocide of approximately 1,500.000 inhabitants of Turkish Armenia by the Ottoman Empire. The goal of this paper is to analyze two main consequences of the Armenian genocide in Armenian literature, namely, the transition from modern (1850-1915) to contemporary literature (1915-), and the formation of Armenian contemporary literature in Diaspora. While Armenian modern literature is largely characterized by militant engagement, aiming to instruct the popular masses so that they could fight for political and social justice and forindependence, Armenian contemporary literature produced in Diaspora deals mainly with questions concerning cultural identity of Armenian descendants that were born in Diaspora. We exemplify these trends with excerpts from texts written by two modern authors (Raffi and Daniel Varujan) and two contemporary ones (William Saroyan and Michael J. Arlen).

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18

Black, Matt. "The Black Okies." Boom 3, no. 2 (2013): 92–110. http://dx.doi.org/10.1525/boom.2013.3.2.92.

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The social history of the Central Valley has been poked, prodded, dissected by generations of journalists, photographers, historians, storytellers of all stripes looking to puzzle out once and for all the poverty-choked enigma that is California's farm belt. From The Grapes of Wrath to Cesar Chavez, the bleak warm tales of William Saroyan to the harsh reality of Japanese internment, the Central Valley grows stories so tragic, deep, and humanly rich that in just 100 years or so it's claimed far more than seems its fair share in the broader American tale. Every year brings another crop of stories, but sitting in the pew that Sunday morning, the one I was hearing and seeing had somehow slipped from the net. Even I, who had grown up close by, had missed this one. Glimpsed it, but not seen it for what it really was.

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19

Holt, Thelma. "Marowitz Remembered." New Theatre Quarterly 30, no. 3 (August 2014): 206–7. http://dx.doi.org/10.1017/s0266464x14000414.

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CHARLES MAROWITZ and I were introduced to each other in the early 1960s when the actor I was playing opposite in a William Saroyan double-bill at the Duke of York's announced he was about to revive his performance of Hamlet, which he had played for Charles in Peter Brook's Theatre of Cruelty season. Charles had seen me in a play at what was the Hampstead Theatre Club where I prophetically played a lion-tamer. Neither of these performances indicated what he saw in me to play Gertrude as a mother merely eight years older than her son, Hamlet.In his flat, the first sight of Charles was forbidding: he was very tall, unhealthily pale with a lot of black hair, a dead ringer in my eyes for Rasputin. He offered me a cup of coffee and, when he went to fetch it from the kitchen, I hastily scanned his bookshelves, to see if they would tell me something about the man. The books were terrifying as he was so obviously very well read in terms theatrical from A to Z, and historically from the beginning of time to contemporary theatre. His smile obliterated the Rasputin impression: it was a wolfish grin. So I slipped into thinking I could play Little Red Riding Hood to his Big Bad Wolf.

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20

BUTTERFIELD, R. W. (HERBIE). "Nona Balakian, The World of William Saroyan (Lewisburg: Bucknell University Press; London: Associated University Presses, 1998 £38.00). Pp. 294. ISBN 0 8387 5368 X." Journal of American Studies 33, no. 3 (December 1999): 519–86. http://dx.doi.org/10.1017/s0021875899246233.

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21

Ronald, Ann. "William Saroyan by Edward Halsey Foster, and: Mari Sandoz by Helen Winter Stauffer, and: Barry Lopez by Peter Wild, and: Tillie Olsen by Abigail Martin." Western American Literature 20, no. 1 (1985): 55–56. http://dx.doi.org/10.1353/wal.1985.0001.

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22

Seed, David. "Leo Hamalian (ed.), William Saroyan: The Man and the Writer Remembered (Cranbury & London: Associated University Presses, 1988, £25). Pp. 259. ISBN 0 8386 3308 0." Journal of American Studies 24, no. 2 (August 1990): 274–75. http://dx.doi.org/10.1017/s0021875800029959.

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23

Levonian, Greg. "No Laughing Matter: William Saroyan’s Californians in Crisis." Western American Literature 46, no. 4 (2012): 382–99. http://dx.doi.org/10.1353/wal.2012.0012.

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24

Gudkov, Maxim. "Music of the Highlands in Manhattan: William Saroyan’s Drama Debut." Literature of the Americas, no. 5 (2018): 283–309. http://dx.doi.org/10.22455/2541-7894-2018-5-283-309.

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25

Gasparyan, Gayane. "Double-Sided Transformations of Culture-Bound Constituents in William Saroyan’s Cross-Cultural Domain." Translation Studies: Theory and Practice 1, no. 2 (December 23, 2021): 31–44. http://dx.doi.org/10.46991/tstp/2021.1.2.031.

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The article focuses on the transformations, which occur in Russian and Armenian translations of culture-bound constituents in W. Saroyan’s fiction with special reference to the analysis of their pragmatic value and both cross-cultural and cross-language identification. The aim of the analysis is to reveal the so-called Saroyanesque identity and the translation perspectives of his specific manner of reproducing the actual reality, his personal vision of the world he lived in and created in, the world which combined the environment, circumstances, conditions, characters, cultures, ethnicity of two different communities – his native Armenian and no less native America. The so-called double-sided transformations of culture-bound constituents occur in W. Saroyan’s fiction at basically two levels: the cognitive level of ethnic and mental indicators transformations and the linguistic level of culture-bound elements translation (words, phrases, exclamations etc.). To keep Saroyanesque identity the translators should primarily transform the ideas, the concepts, the ethnic mentality of the characters, then the language media should undergo certain pragmatic modification to be correctly interpreted by the target audience.

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26

Rawashdah, Mohd Ahmad. "Place, Space and Identity in Modern Drama: Analysis of Four Selected Plays." Grove - Working Papers on English Studies 27 (December 14, 2020): 103–22. http://dx.doi.org/10.17561/grove.v27.a7.

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Individual’s identity has always been expressed by abstract terms like culture, beliefs, religion, values etc. In this paper, I argue that modern playwrights show that the generations of the modern era tend to identify more with place, a concrete entity, than they do with the traditional constitutive elements of identity since these abstractions started to lose their glamour and value in an age marked by tremendous advancement in technology and materialism. With the modern generations increasingly associating themselves with place, an identity crisis has emerged since place is contingent to economic and social factors i.e. is not as stable as culture or religion. The vulnerability of modern identity turns it into a notion in flux, with no fixed or clear-cut boundaries. Thus, modern age people may live with multilayered identity or swing between two or more identities. Place, with whatever experience is practiced in it, remains the hinge on which modern identity revolves. To show that the phenomenon is a global one, the paper studies four plays representing different cultures and spheres—Anton Chekov’s The Cherry Orchard, Arthur Miller’s Death of a Salesman, William Saroyan’s The Time of Your Life, and Wakako Yamuchi’s And the Soul Shall Dance.

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27

"The world of William Saroyan." Choice Reviews Online 35, no. 11 (July 1, 1998): 35–6077. http://dx.doi.org/10.5860/choice.35-6077.

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28

"William Saroyan: a reference guide." Choice Reviews Online 26, no. 10 (June 1, 1989): 26–5435. http://dx.doi.org/10.5860/choice.26-5435.

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29

Ռաֆայելյան, Կարինե. "Վիլյամ Սարոյանը Դերենիկ Դեմիրճյանի հակասական գնահատումներում." Գրականագիտական հանդես=Literary Journal, September 13, 2022, 113–34. http://dx.doi.org/10.54503/1829-0116-2022.1-113.

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With this study we refer to two articles by DerenikDemirchyan, written in 1946 և 1953. In them, Demirchyan expresses contradictory opinions on William Saroyan’s literature and civic description. The point is that Saroyan, being a great supporter of the Soviet Union, and of course, Soviet Armenia, for some reason did not sign the Peace Call adopted in 1950 on the initiative of a number of countries, including the Soviet Union, known as the Stockholm Call. We assume that Demirchyan wrote the 1953 article on the orders of the Soviet regime, in which he severely criticized Saroyan, considering him a faithful servant of the morals of the bourgeois world, to whom humanitarian, peaceful approaches are hostile. And this is in the case when in the article published in 1946 Demirchyan claimed the exact opposite and gave the highest assessment to Saroyan’s works and the human image. We have raised these contradictory views in our article and presented a number of sources and views that shed light on the reasons for DerenikDemirchyan’s contradictory approaches.

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30

"William Saroyan: a research and production sourcebook." Choice Reviews Online 32, no. 10 (June 1, 1995): 32–5441. http://dx.doi.org/10.5860/choice.32-5441.

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31

"A daring young man: a biography of William Saroyan." Choice Reviews Online 40, no. 08 (April 1, 2003): 40–4476. http://dx.doi.org/10.5860/choice.40-4476.

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32

"Stella Adler on America's master playwrights: Eugene O'Neill, Thornton Wilder, Clifford Odets, William Saroyan, Tennessee Williams, William Inge, Arthur Miller, Edward Albee." Choice Reviews Online 50, no. 05 (January 1, 2013): 50–2555. http://dx.doi.org/10.5860/choice.50-2555.

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33

"Warsaw visitor [and] Tales from the Vienna streets: the last two plays of William Saroyan." Choice Reviews Online 29, no. 03 (November 1, 1991): 29–1392. http://dx.doi.org/10.5860/choice.29-1392.

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34

Kefalidou, Charikleia Magdalini. "Failure and failing, an ethos of the (self) exiled? The case of the playwright William Saroyan." Agôn. Revue des arts de la scène, no. 9 (June 21, 2021). http://dx.doi.org/10.4000/agon.8325.

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35

ERYILMAZ, Doğanay, and Hülya ERASLAN. "The cultural identity of the Armenian diaspora with its reflections in literature." RumeliDE Dil ve Edebiyat Araştırmaları Dergisi, August 21, 2022. http://dx.doi.org/10.29000/rumelide.1164184.

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The aim of this study is to reveal how the cultural identities of the Armenian Diaspora are conveyed through their literary productions. The word “diaspora”, which is one of the concepts that has been used since ancient times, was initially used to express those living in areas outside the original Greek settlement, but over time, its meaning has expanded. For this reason, in our study, first of all, the meanings of “diaspora” as a concept in the past and today will be briefly mentioned. The necessary elements for the formation of a diaspora are basically immigration, perception of homeland and identity problem. These elements are closely interconnected and the resulting diaspora identity causes the formation of different cultural practices. One of these cultural practices is literature. It is certain that Diaspora literature is different from any local literature. Therefore, it will not be possible to understand the literary activities of diasporas without mentioning the factors that are effective in the formation of diaspora. For this reason, in this article, it will be mentioned how diasporic structures are formed, and then it will be examined how diasporic literature is formed. In our study, our sample will be selected from the works of Armenian literature written by diaspora writers. In this context, the stories of William Saroyan from the United States, the first novel of Shahan Shahnour from France, Retreat without Song, and the work of Zoya Pirzad, a woman writer from Iran, I Will Turn off the Lights will be examined. Since these works directly reflect the diaspora cultural life, the theories and methods of sociology of literature will be used in our study. In addition, considering that Iranian Armenians are different from other diasporic elements due to the differences in their structure and historical background, comparative literature science theories and methods will be applied, as the studied works will be compared with each other.

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36

Levonian, Greg. "William Saroyan’s Dream of Home." Journal of the Society for Armenian Studies, June 17, 2021, 1–6. http://dx.doi.org/10.1163/26670038-12342742.

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Abstract The many forms of home permeate William Saroyan’s most notable dramatic efforts: Hello Out There, The Time of Your Life, The Beautiful People, and The Cave Dwellers. Home embodies not only a place, but also an idea – one that provides hope for the hopeless and adrift.

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