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Добірка наукової літератури з теми "National book critics circle award"

Автор: Grafiati

Опубліковано: 4 червня 2021

Оновлено: 31 липня 2024

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Статті в журналах з теми "National book critics circle award"

Probstein, Ian. "Louise Glück: Mythological Feminism and an Attempt to Overcome Antagonism." Literature of the Americas, no. 9 (2020): 316–24. http://dx.doi.org/10.22455/2541-7894-2020-9-316-324.

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For many people the fact that Louise Glück won the 2020 Nobel Prize in Literature was a complete surprise. Ian Probstein comments on the judges’ decision and reminds about the poet’s “CV” that includes National Book Award, Pulitzer Prize, Bollingen Prize, National Book Critics Circle Award, National Humanities Medal, several Guggenheim fellowships and some other prestigious awards. Louise Glück was Poet-Laureate of the United States (2003–2004), the president of The Yale Younger Poets Prize jury. The essay contains a brief biographical sketch and a careful, subtle analysis of Glück’s poetry supplemented by Ian Probstein’s translations of poetic fragments.

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Wood, Gerald C. "Orphans' Home: The Voice and Vision of Horton Foote. By Laurin Porter. Baton Rouge: Louisiana State University Press, 2003; pp. 233. $49.95 cloth, $22.95 paper." Theatre Survey 45, no. 2 (November 2004): 286–88. http://dx.doi.org/10.1017/s0040557404240261.

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Horton Foote has won many distinguished awards, including two Academy Awards for screenwriting, the Pulitzer Prize for drama, the Lucille Lortel Award, an Emmy, the William Inge Award, lifetime awards from the Academy of Arts and Letters and the Writer's Guild of America, an Outer Critics Circle Award, the Master American Dramatist Award of the PEN American Center, and the National Medal of the Arts. Yet there has been relatively little written about this important American—and southern—writer. Partly that is because he has written in various media, including theatre, film, and television, gaining substantial but limited fame in each, and much of his work is either produced regionally or staged for a small circle of aficionados in New York, where seemingly simple, understated dramas about coastal southeast Texas are never the rage. This tendency is exacerbated by the production history of the nine plays in The Orphans' Home, the subject of Laurin Porter's book. Staged over twenty years, from readings of the first plays in 1977 to the premiere of the final one, The Death of Papa, at Chapel Hill, North Carolina, in February of 1997, the plays have never been staged together.

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Allington, Daniel. "‘Power to the reader’ or ‘degradation of literary taste’? Professional critics and Amazon customers as reviewers of The Inheritance of Loss." Language and Literature: International Journal of Stylistics 25, no. 3 (August 2016): 254–78. http://dx.doi.org/10.1177/0963947016652789.

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The Inheritance of Loss by Kiran Desai (2006) was critically lauded, gaining many positive periodical reviews and winning both the Man Booker Prize and the National Book Critics Circle Award for Fiction. However, it has received mixed reviews from customers of the online retail giant, Amazon: an arguable expression of the challenge that digital consumerism presents to literature’s longstanding claim to autonomy from the market. In order to understand the relationship between the book’s professional and customer reviews, a collection comprising both was constructed. Qualitative analysis of these reviews was followed by the use of thematic coding to compare sub-collections divided by means of publication and by geographical location, with social network graphs being used to represent similarities between reviews and graph density being employed as a measure of overall similarity. No distinctions were found between reviews when grouped according to geographical location. However, the novel’s professionally published reviews were found to be a more homogeneous group than its Amazon customer reviews, and to be more likely to recommend the novel and to praise it for its humour and its narrative, while customer reviews were found to be more likely to criticise it for its characters, and less likely to quote it or to discuss its political themes. It is argued that this is because the book was produced to satisfy the expectations of a ‘literary’ rather than a ‘popular’ audience, where professional book reviewers represent the former almost by definition.

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Gulyaeva, Nadezhda P., Viktor M. Sukhorukov, Tatyana V. Shchetilina, and Anton V. Sukhorukov. "Who are You, G.D. Zlochevsky? – An Engineer, Bibliographer, Bibliophile." Bibliography and Bibliology, no. 2 (August 3, 2023): 131–38. http://dx.doi.org/10.25281/2411-2305-2023-2-131-138.

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The critical review of the second, revised and added edition of biobibliographical index“Garold Davidovich Zlochevsky” is given (its authors: G.A. Melnichuk, N.V.Stepanova, A.I. Frolov). This book was published in 2021. It presents the whole mass of all literary works and publications by Moscow bibliographer, bibliophile, expert for researching of Russian country estates, a talented inventor – Garold Davidovich Zlochevsky. The book is published under the aegis of the Russian Estate Research Society and the National Union of Bibliophiles. This edition is of great interest to the wide circle of readers and researchers: bibliographers, historians, local history researchers, literary critics, art critics, pedagogues, figures of humanitarian sciences as well as specialists of engineering profile and inventors. A special place in publishing activities of this scientist and encyclopedic scholar was occupied and continues to be occupied by the scientific journal “Bibliography” (until 2015) changed later its name for “Bibliography and Bibliology”.

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Arana Bustamante, Luis. "Browne, Janet Charles Darwin. Viajes. Una biografía [volumen 1]." ISHRA, Revista del Instituto Seminario de Historia Rural Andina, no. 2 (February 27, 2018): 163. http://dx.doi.org/10.15381/ishra.v0i2.14325.

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El año 2009 el mundo entero celebró el bicentenario del nacimiento del naturalista Charles Robert Darwin (1809-1882) y el sesquicentenario de la publicación de El origen de las especies (1859). En España —entre otras iniciativas editoriales— la Universidad de Valencia asumió la traducción de esta obra, la más larga, documentada y saludada biografía moderna de Darwin. Consta de dos volúmenes, aparecidos en 1995 y 2002 —de cerca de 700 pp. cada uno—, por los cuales su autora, la británica E. Janet Browne, recibió el National Book Critics Award y el Pfizer Prize for Biography de la British History of Science Society.

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Galasso, Regina. "The Lifeline of Chromos: Translation and Felipe Alfau." TranscUlturAl: A Journal of Translation and Cultural Studies 1, no. 3 (March 18, 2011): 43. http://dx.doi.org/10.21992/t97h0m.

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When Felipe Alfau’s novel Chromos was published in 1990, approximately fifty years after its creation, it was nominated for the National Book Award in the US and critics repeatedly commented on the novel’s unique language. For most critics, Alfau’s language was special because of the New York-based, Spanish-born author’s decision to write in English. Alfau’s profession as a bank translator has often been dismissed as having any relation with his literature save its disconnection from his creative writing. In this article, I argue that translation techniques are responsible for the extraordinary language of Chromos, and further, that the novel’s existence relies on the narrator’s role as a translator. Translation in Chromos is an integral and essential part of literary creation-- especially for an author working in a multilingual and multinational setting--to the extent that the novel, in its original version, impersonates a translation.

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Shim, Jung-Soon. "The Shaman and the Epic Theatre: the Nature of Han in the Korean Theatre." New Theatre Quarterly 20, no. 3 (August 2004): 216–24. http://dx.doi.org/10.1017/s0266464x04000119.

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The distinctively Korean concept of Han evokes a pervasive sense of sorrow, traditionally in need of shamanistic purging in the spirits of the dead, but also describing the sense of national trauma induced first by the Japanese occupation, then by the post-war division of the country. Han has also become an important feature of modern Korean drama, and in this article Jung-Soon Shim describes how Park Joh-Yeol's play The Toenails of General Oh (1974) revisits the concept, integrating indigenous cultural traditions – notably the shamanic ritual Gut – and how, in the production by Sohn Jin-Chaek, the director utilized a western style of epic theatre to create a ‘distanced’ style of Gut on the proscenium stage. Jung-Soon Shim is Professor of English at Soongsil University in Seoul, and a founding member of the Korean Association of Women in Theatre (KAWT), of which she is currently President. Her books include the two-volume Globalization and Korean Theatre (2003), which won the Best Book of the Year Award of the Korean Ministry of Culture. She also received the Best Critic Award for 2004 from the Korean Association of Theatre Critics. Her research for this article was supported by Soongsil University.

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Pogorelaya, E. A. "A humanized human. Evgenia Nekrasova." Voprosy literatury, no. 4 (August 28, 2020): 78–90. http://dx.doi.org/10.31425/0042-8795-2020-4-78-90.

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The article is devoted to E. Nekrasova, a contemporary writer, whose school novel Kalechina-malechina was short-listed for The Big Book Prize and The National Bestseller Award in 2019. Kalechina-malechina is analyzed as a specimen of the contemporary Russian crossover novel (which targets both adult and young audiences), highly popular in the West, but having trouble taking root in Russia – perhaps, because the genre suggests a polyphony not only in terms of the plot, but also psychology, whereas Russian literature of the 2000s – 2010s is predominantly monologic. Nekrasova, on the other hand, in her Kalechina-malechina and Sestromam, a collection of short stories, embraces the principle of the diversity of voices. Comparing Nekrasova’s work with another example of contemporary school prose, provided by B. Khanov’s Inconstants [Nepostoyannye velichiny], the author decides that the integrity of a text today is defined by its polyphonic quality, by the ability to hear a different opinion: the ability that some modern authors and even critics are badly lacking.

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Shevtsova, Maria. "Alive, Kicking – and Kicking Back: Russia’s Golden Mask Festival 2015." New Theatre Quarterly 31, no. 3 (July 9, 2015): 232–40. http://dx.doi.org/10.1017/s0266464x15000445.

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The Golden Mask and National Theatre Award and Festival, founded in Moscow in 1994, has showcased some of the most exciting theatre to be found across Russia’s vast territories: ‘theatre’ including opera, ballet, contemporary dance, puppetry, and newer forms that have taken root with changing artistic practices. Maria Shevtsova’s brief overview of the 2015 Russian Case, a selection for foreign producers and critics, prominently features ‘new drama’, not least because of the difficulties recently imposed on Teatr.doc, a founding player within this powerful movement. Major young directors appear here, with crossover to their work as represented in past editions of the Russian Case, and with reference to current socio-political factors. Reviews of earlier festivals appeared in NTQ 85, 95, and 103. Maria Shevtsova, Professor at Goldsmiths, University of London, is co-editor of New Theatre Quarterly. Her most recent book is the co-authored Cambridge Introduction to Theatre Directing (2013). Her seminal Dodin and the Maly Drama Theatre: Process to Performance (2004) has been translated into Romanian, Korean, and Mandarin and, in 2014, Russian.

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Maslikova, I. I. "THE SPHERE OF CULTURE IN THE PROCESSES OF NATION-BUILDING AND THE CONSOLIDATION OF CITIZENS: THE EXPERIENCE OF THE CULTURAL POLICY IN FRANCE AND GERMANY." UKRAINIAN CULTURAL STUDIES, no. 1 (8) (2021): 50–54. http://dx.doi.org/10.17721/ucs.2021.1(8).11.

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The article examines the positive and negative experience of the consolidation of French and German citizens in process of nation-building by means of culture. The research deals with: practice of collecting masterpieces that influenced the development of public museums and the ability to defend national interests; the practice of consolidation of citizens around monuments of cultural figures; practices of confrontation between conservative intellectuals and modern artistic circles, which led to the fight against dissent, the destruction of books and the formation of the ideology of Nazism; practices of nazification of the education system, which revealed growing of the conflict between ideal virtues and the real behavior of participants in the educational process and politicians, and which subsequently legitimized absolute obedience to the leader; practices of collecting library collections, accompanied by theft of public libraries and private collections. The positive consequences of the consolidation citizens with the help of cultural institutions are indicated: the institutionally formed sphere of culture allows citizens to experience national pride, to be aware of themselves as a part of an original and rich national culture, to form their national identity. Cultural institutions create a space, which creativity is encouraged, opportunity for public discussions about culture and society are provided; educational and scientific activities are carried out. Recommendations on building a strategy for the cultural policy of Ukraine: the sphere of culture should be aimed at consolidating citizens; should expand the possibilities of various subjects of cultural activity and minimize the negative influences of the state; should expand access to quality education that fosters a culture of critical and creative thinking; should expand opportunities for international cooperation in educational and cultural projects based on the values of rights and freedom of individuals, mutual understanding and mutual respect of representatives of different cultures.

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Більше джерел

Книги з теми "National book critics circle award"

Bolaño, Roberto. 2666. New York: Farrar, Straus and Giroux, 2008.

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Bolaño, Roberto. 2666. Barcelona: Editorial Anagrama, 2004.

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Hazzard, Shirley. The transit of Venus. New York, N.Y., U.S.A: Penguin Books, 1990.

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Price, Reynolds. Kate Vaiden. Boston, Mass: G.K. Hall, 1987.

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Price, Reynolds. Kate Vaiden. London: Chatto & Windus, 1987.

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Berriault, Gina. Women in their beds: New and selected stories. Washington, D.C: Counterpoint, 1996.

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Mantel, Hilary. Wolf Hall. Glasgow: HarperCollins, 2009.

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Mantel, Hilary. Wolf Hall. 2nd ed. London: Fourth Estate, 2012.

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Mantel, Hilary. Wolf Hall. London: Fourth Estate, 2009.

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Mantel, Hilary. Wolf Hall. Waterville, Me: Large Print Press, 2012.

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Частини книг з теми "National book critics circle award"

Owens, Louis. "Erdrich and Dorris’s Mixed-bloods and Multiple Narratives." In Louise Erdrich’S Love Medicine, 53–66. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195127218.003.0006.

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Abstract Despite The Import A”< c E (l F N. Scott Momaday’s Pulitzer Prize for House Made of Dawn in 1969, no American Indian author has achieved such immediate and enormous success as Louise Erdrich with her first novel, Love Medicine. A best-seller, Love Medicine not only outsold any previous novel by an Indian author, but it also gathered an impressive array of critical awards, including the National Book Critics Circle Award for Fiction in 1984, the American Academy and Institute of Arts and Letters award for best first novel, the Virginia McCormack Scully Prize for best book of 1984 dealing with Indians or Chicanos, the American Book Award from the Before Columbus Foundation, and the LA. Times award for best novel of the year.

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Wong, Sau-Ling Cynthia. "Autobiography as Guided Chinatown Tour? Maxine Hong Kingston’s The Woman Warrior and the Chinese American Autobiographical Controversy." In Maxine Hong Kingston’s The Woman Warrior, 29–53. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195116540.003.0004.

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Abstract Maxine hong kingston ‘ s autobiography, The Woman Warrior, may be the best-known contemporary work of Asian-American literature. Winner of the National Book Critics Circle Award for the best book of nonfiction published in 1976, The Woman Warrior remains healthily in print and on the reading lists of numerous college courses; excerpts from it are routinely featured in anthologies with a multicultural slant. It is safe to say that many readers who otherwise do not concern themselves with Asian-American literature have read Kingston’s book.

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Furman, Jan. "Introduction." In Toni Morrison’s Song of Solomon, 3–20. Oxford University PressNew York, NY, 2003. http://dx.doi.org/10.1093/oso/9780195146349.003.0001.

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Abstract Toni Morrison’s Sons of Solomon appeared in 1977 to a standing ovation. Anne Tyler of the Washinston Post called it “a stunningly beautiful book.” “Morrison dazzles,” declared the Nation. The Philadelphia Enquirer described Morrison as “the most sensible lyrical writer around today.” John Leonard, writing in the New York Times, considered it his honor to review Sons of Solomon. Cataloging his reviewer’s canon of admirable books-among them Nabokov’s Lolita, Heller’s Catch-22, Lessing’s The Golden Note book, Grass’s The Tin Drum, Cheever’s Bullet Park, Garcia Marquez’s One Hundred Years of Solitude, and Kingston’s The Warrior Woman Leonard added Morrison’s novel to the list. “The first two-thirds of Sons of Solomon are merely wonderful,” he wrote. “The last 100 pages are a triumph.” The year following its publication, Sons of Solomon won both the National Book Critics Circle Award and the American Academy and Institute of Arts and Letters Award and was also chosen as a Book-of-the-Month Club selection.

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Chavkin, Allan. "Vision and Revision in Louise Erdrich’s Love Medicine." In Louise Erdrich’S Love Medicine, 211–19. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195127218.003.0015.

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Abstract Love Medicine made Louise Erdrich famous almost overnight. This novel prompted an unusual amount of critical attention, won the National Book Critics Circle Award, and has since become a work frequently anthologized and taught in colleges and universities. Yet in 1993 Erdrich republished the novel after revising it, adding four new chapters and a new section that become the second part of “The Beads,” and resequencing the chapters; the title page of the book was changed from Love Medicine.• A Novel to Love Medicine.• New and Expanded Version. Although occasionally writers have revised and “corrected” published books, there have been very few instances in which a major modern novel has been so substantially revised and expanded as Love Medicine was.

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Rodríguez, Barbara. "In One Voice: Autobiographical Acts in Maxine Hong Kingston’s The Woman Warrior and Hisaye Yamamoto’s “The Legend of Miss Sasagawara”." In Autobiographical Inscriptions, 96–136. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195123418.003.0004.

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Abstract In 1976, Maxine Hong Kingston’s The Woman Warrior: Memoirs of a Girlhood among Ghosts received the National Book Critics Circle Award in the category of nonfiction. Two years later, the autobiography also won for the author the Ainsfield-Wolf Race Relations Award. And during the subsequent decades, the work has garnered astounding praise, becoming according to most estimates the most widely taught text on American college and university campuses, a fact attested to by the Modern Language Association’s publication Approaches to Teaching Maxine Hong Kingston’s “The Woman Warrior”; its chapter headings include: “The Woman Warrior in the Women’s Studies Classroom,” “Woman Warriors and Military Students,” and “The Woman Warrior in the History Classroom,” titles that illustrate the popularity of the narrative (Lim, 1991).

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Dickstein, Morris. "Ralph Ellison, Race, and American Culture." In Ralph Ellison’s Invisible Man, 125–47. Oxford University PressNew York, NY, 2004. http://dx.doi.org/10.1093/oso/9780195145359.003.0007.

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Abstract In the standard views of American culture after the war, and especially of the 1950s, the arts and intellectual life turned deeply conservative, reflecting the imperatives of the cold war, the migration to the suburbs, the new domesticity, and the rise of McCarthyism. A small academic industry has sprung up, linking every cultural development of the postwar period to the clenched mind-set of the cold war. At the same time, it has been more and more evident that the facile contrast between the fifties and the sixties is based on a deep simplification. The fifties were a far more restless, dynamic, and contradictory period than we have generally allowed. It can be easily shown how the roots of the sixties lay in the new energies of the postwar years, when writers, along with jazz musicians, abstract painters, and maverick filmmakers, contributed to a creative ferment that matched the growth of the economy and the spread of American influence. Working just outside the mainstream, often seemingly apolitical, these writers and artists helped shape a counterculture focused on the youthful dropout, the rebel without a cause, the disgruntled outsider who embodied new cultural values: improvisation, spontaneity, an experimental attitude. This last phrase comes not from the Beats but, surprisingly, from Ralph Ellison describing his 1952 novel Invisible Man as he accepted the National Book Award. It may be hard to imagine Ellison, always so correct and elegant in his personal demeanor, as any kind of radical, or as a forerunner of the counterculture. Moreover, no black writer was more warmly welcomed by the literary establishment or more reviled by his young successors when the catchwords of black nationalism took hold in the 1960s and ‘70s. Even before then, left-wing critics like Irving Howe had indicted Ellison and James Baldwin for turning their backs on the militant traditions of black anger associated with their mentor, Richard Wright.

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"Examples of British Brecht discussed here include George Devine’s production of The Good Woman of Setzuan, Sam Wanamaker’s The Threepenny Opera and William Gaskill’s The Caucasian Chalk Circle. (Throughout this book all the play titles given reproduce exactly the translations used for the particular productions discussed.) The chapter also includes a brief assessment of the relationship between the work of Brecht and that of key British playwrights: John Arden, Arnold Wesker, John Osborne, Robert Bolt and Edward Bond. Chapter 3 describes the ways in which the political upheavals of 1968 and the social and artistic developments in Britain made Brecht eminently suitable and accessible to radical theatre groups. It analyses the impact of politically committed theatre practitioners’ attempts to take on all aspects of Brecht’s dramatic theory, political philosophy and, as far as possible, theatre practice. Detailed analyses of Brecht productions by some key radical companies (e.g. Foco Novo, Belt and Braces Roadshow, Liverpool’s Everyman Theatre, Manchester’s Contact Theatre and Glasgow’s Citizens Theatre) demonstrate how their commitment to the integra-tion of political meaning and aesthetic expression contributed to the growing understanding and acceptance of Brecht’s theatre in Britain. This achievement is contrasted in Chapter 4 with the ways in which Brecht’s plays were incorporated into the classical repertoire by the national companies – the Royal Shakespeare Company and the National Theatre – in the 1970s and 1980s. Here there is an assessment of the damaging impact on these Brecht productions of the companies’ hierarchical structure and organisation, the all-too-frequently non-collaborative approaches to production, and the undue emphasis placed on performance style and set design, often in isolation from a genuine commitment to the intrinsic, socio-political meaning of the texts. The chapter centres on the productions of Brecht in the 1970s and 1980s for the Royal Shakespeare Company directed by Howard Davies, and on those at the National Theatre directed by John Dexter and Richard Eyre. Chapter 5 presents three case studies, that is, detailed accounts based on access to rehears-als and on interviews with the relevant directors and performers, of three major British productions of Brecht plays in the early 1990s. The first case study is of the award-winning production of The Good Person of Sichuan at the National Theatre in 1989/90, directed by Deborah Warner, with Fiona Shaw as Shen Te/Shui Ta. The second is of the Citizens Theatre’s 1990 production of Mother Courage, directed by Philip Prowse, with Glenda Jackson in the title role. And the third is of the National Theatre’s The Resistible Rise of Arturo Ui, directed in 1991 by Di Trevis, with Antony Sher as Ui. The main focus of this chapter and its case-studies is the relationship in practice between Brechtian theory, and the aesthetics and the politics of the texts, in both the rehearsal process and the finished performances." In Performing Brecht, 16. Routledge, 2002. http://dx.doi.org/10.4324/9780203129838-12.

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Weinberger, Eliot. Anonymous Sources: A Talk on Translators and Translation. Inter-American Development Bank, November 2000. http://dx.doi.org/10.18235/0007942.

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