Valerie v. Pfeiffer Art - Bookshelf
3 v. Salzburg, Galerie Welz, 1980-89. (CR). (Veroffentlichungen der Al- bertina, 15). Whitford, Frank. Klimt. London, Thames and Hudson, 1990. Kline ... New York, Whitney Museum of American Art, 1968. K linger. Max ... Mit einem essay von H.G. Pfeiffer; hrsg. von Carl Schirren. ... Bolling, G. Fredric and Whithington, Valerie,
Hollywood Hellraisers, The Wild Lives and Fast Times of Marlon Brando, Dennis Hopper, Warren Beatty and Jack Nicholson
Onassis, Aristotle [I], [II] Onassis, Jackie Kennedy [I], [II] One Flew Over the Cuckoo's Nest (film) [I], [II], [III], [IV], [V], [VI] One ... Valerie [I] Pesci, Joe [I], [II] Peters, Jean [I] Peters, Jon [I], [II], [III] Petulia (film) [I] peyote [I], [II], [III] Pfeiffer, Michelle [I], [II], ...
About this book
'I don't know what people expect when they meet me. They seem to be afraid that I'm going to piss in the potted palm and slap them on the ass.' Marlon Brando 'I should have been dead ten times over. I believe in miracles. It's an absolute miracle that I'm still around.' Dennis Hopper 'The best time to get married is noon. That way, if things don't work out, you haven't blown the whole day.' Warren Beatty 'You only lie to two people in your life: your girlfriend and the police.' Jack Nicholson They're the baddest bad asses Hollywood has ever seen: Marlon Brando, Dennis Hopper, Warren Beatty and Jack Nicholson. These are men for whom rules did not apply, men for whom normal standards of behaviour were simply too wearisome to worry about. These are men who brawled, boozed, snorted and shagged their way into legend-hood - but along the way they changed acting and the way movies were made forever. Hollywood Hellraisers is a whistle-stop tour of jaw-dropping sexual activity, misbehaviour of an Olympic standard, all-out excess and genuine madness. It's a wonder Hollywood survived.
... John 107 Miner, Valerie 84 Miola, Robert S. 352 Monck, Nugent 126 Moncrieff, William 79 Moncrieff, W.T. 326, 333, 336–8 Montaigne, ... 271; loyalty 264; redemption 253–4 nature: art 356, 357; convention 244–6; Edmund 259–60, 264, 300, 355; Goneril 264; human art ... Marion D. 48 Petti, Anthony 168 Pfeiffer, Michelle 82 Phelps, Samuel 30 Philips, Robin 73 Pius V, Pope 301 plague 135, 136, 139, ...
About this book
Is King Lear an autonomous text, or a rewrite of the earlier and anonymous play King Leir? Should we refer to Shakespeare’s original quarto when discussing the play, the revised folio text, or the popular composite version, stitched together by Alexander Pope in 1725? What of its stage variations? When turning from page to stage, the critical view on King Lear is skewed by the fact that for almost half of the four hundred years the play has been performed, audiences preferred Naham Tate's optimistic adaptation, in which Lear and Cordelia live happily ever after. When discussing King Lear, the question of what comprises ‘the play’ is both complex and fragmentary. These issues of identity and authenticity across time and across mediums are outlined, debated, and considered critically by the contributors to this volume. Using a variety of approaches, from postcolonialism and New Historicism to psychoanalysis and gender studies, the leading international contributors to King Lear: New Critical Essays offer major new interpretations on the conception and writing, editing, and cultural productions of King Lear. This book is an up-to-date and comprehensive anthology of textual scholarship, performance research, and critical writing on one of Shakespeare's most important and perplexing tragedies. Contributors Include: R.A. Foakes, Richard Knowles, Tom Clayton, Cynthia Clegg, Edward L. Rocklin, Christy Desmet, Paul Cantor, Robert V. Young, Stanley Stewart and Jean R. Brink