A Devil s Vaudeville

... yet nonetheless convincingly, Bakhtin identiWes the carnival resonances of this scene, arguing that before us “is the ... from his own constant consciousness of the falseness of his Napoleonic aspirations and 82 A Devil's Vaudeville.

Author: William J. Leatherbarrow

Publisher: Northwestern University Press

ISBN: 9780810120495

Category: Literary Criticism

Page: 210

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A study of the 'demonic markers' that run throughout Dostoevsky's fiction, this also explores the narrative and generic implications of the way Dostoevsky inscribed the demonic in his fictional works - implications that point to a new understanding of familiar concepts in the work of this Russian master.
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Devil's. Vaudeville. “The. world. is. a. game. where. the. Devil. often. hunts.” T. he scandalous, vile report was clenched out by the grappling fists; the furtive and raging eyes scanned through the document with sheer shock and his ...

Author: Tanay Bhadra

Publisher: Notion Press

ISBN: 9781649195913

Category: Fiction

Page: 374

View: 423

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When the night settles, And the wolf howls at its moon, The murk shall devour the sky, The Lands shall cry, A forever midnight will besiege the ticking of time, For the Devils only come out at midnight. Angels will fall, And the Devils will rise. For every end shall have a new beginning. - Aeon, Ruler of the Great Beyond “Everyone believes that there are two kinds of devils – ones that come from above and the ones that come from below. The ones that come from below seek vengeance upon the mortal world. The ones that come from above seek redemption amongst the living. But I personally believe in the third kind of devils, who seek both – redemption and vengeance. These devils are us – the living creatures.”: SPAR 84 “You were brave to enact and try to bring things in order, but you messed up. Someone needed to clean up that mess of yours: Destiny chose me”: Yanat “Evil cannot be suppressed, it can only be delayed”: VEH 8462
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A Vaudeville of Devils

'Three Ravens on a Red Ground' portrays an American businessman faced with a Japanese takeover, comparing both cultures' version of honour. These seven moral tales will delight anyone who has read Girardi's previous novels.

Author: Robert Girardi


ISBN: 0340739568

Category: Deadly sins

Page: 448

View: 645

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The five short stories and two novellas in A VAUDEVILLE OF DEVILS are loosely based around the seven deadly sins. In 'The Demons Tormenting Unsturmfuhrer Hans Otto Graebner' an SS officer is made aware of mortality and morality by a degenerate artist. With 'The Dinner Party' Girardi gives us his own rich and peculiar version of hell on earth. 'Three Ravens on a Red Ground' portrays an American businessman faced with a Japanese takeover, comparing both cultures' version of honour. These seven moral tales will delight anyone who has read Girardi's previous novels.
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Russian Literature and Its Demons

For the demonic connotations of the name Petr in Dostoevsky's character Petr Verkhovensky in The Devils , see in this volume W.J. Leatherbarrow , " The Devils ' Vaudeville : ' Decoding the Demonic in Dostoevsky's The Devils . " 49.

Author: Pamela Davidson

Publisher: Berghahn Books

ISBN: 1571817581

Category: Literary Collections

Page: 530

View: 134

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Merezhkovsky's bold claim that "all Russian literature is, to a certain degree, a struggle with the temptation of demonism" is undoubtedly justified. And yet, despite its evident centrality to Russian culture, the unique and fascinating phenomenon of Russian literary demonism has so far received little critical attention. This substantial collection fills the gap. A comprehensive analytical introduction by the editor is follwed by a series of fourteen essays, written by eminent scholars in their fields. The first part explores the main shaping contexts of literary demonism: the Russian Orthodox and folk tradition, the demonization of historical figures, and views of art as intrinsically demonic. The second part traces the development of a literary tradition of demonism in the works of authors ranging from Pushkin and Lermontov, Gogol and Dostoevsky, through to the poets and prose writers of modernism (including Blok, Akhmatova, Bely, Sologub, Rozanov, Zamiatin), and through to the end of the 20th century.
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Dostoevsky and the Epileptic Mode of Being

On Demons, see William J. Leatherbarrow, A Devil's Vaudeville: The Demonic in Dostoevsky's Major Fiction (Evanston, IL: Northwestern University Press, 2005); Nancy K. Anderson, The Perverted Ideal in Dostoevsky's 'The Devils' (New York: ...

Author: Paul Fung

Publisher: Routledge

ISBN: 9781351569286

Category: Foreign Language Study

Page: 160

View: 823

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For Fyodor Dostoevsky (1821-81), who lived with epileptic seizures for more than thirty years, illness is an ineradicable part of existence. Epilepsy in his writings denotes both a set of physical symptoms and a state of survival in which the protagonists incessantly try to articulate, theorize, or master what is ungraspable in their everyday experience. Their attempts to deal with what they cannot control or comprehend results in disappointment, or what Dostoevsky called a mystical terror. Dostoevsky's heroes are unable fully to understand this state, and their existence becomes 'epileptic' in so far as self-knowledge and self-coincidence are never achieved. Fung explores new critical pathways by reexamining five of Dostoevsky's post-Siberian novels. Drawing on insights from writers including Benjamin, Blanchot, Freud, Lacan and Nietzsche, the book takes epilepsy as a trope for discussing the unspeakable moments in the texts, and is intended for students and scholars who are interested in the subject of modernity, critique of the visual, and dialogues between philosophy and literature. Paul Fung is Assistant Professor in English at Hang Seng Management College, Hong Kong.
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Giving the Devil His Due

Ibid., 550. Leatherbarrow, A Devil's Vaudeville, 181. Williams, Language, Faith and Fiction, 65. Dostoevsky, The Brothers Karamazov, 123. Ibid., 63. Ibid., 35. Ibid., 34. Ibid., 36. Ibid., 37. Girard, I See Satan, 45: Girard references ...

Author: Jessica Hooten Wilson

Publisher: Wipf and Stock Publishers

ISBN: 9781498291385

Category: Literary Criticism

Page: 156

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Flannery O'Connor and Fyodor Dostoevsky shared a deep faith in Christ, which compelled them to tell stories that force readers to choose between eternal life and demonic possession. Their either-or extremism has not become more popular in the last fifty to a hundred years since these stories were first published, but it has become more relevant to a twenty-firstt-century culture in which the lukewarm middle ground seems the most comfortable place to dwell. Giving the Devil His Due walks through all of O'Connor's stories and looks closely at Dostoevsky's magnum opus The Brothers Karamazov to show that when the devil rules, all hell breaks loose. Instead of this kingdom of violence, O'Connor and Dostoevsky propose a kingdom of love, one that is only possible when the Lord again is king.
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The Cambridge Companion to Dostoevskii

... the destructive quality of the comic ' pranks of Petr and his circle ( Leatherbarrow , ' Devils ' vaudeville ' , pp . ... Although the number three has obvious Christian resonances , the fact that Alesha , the true hero , is the ...

Author: W. J. Leatherbarrow

Publisher: Cambridge University Press

ISBN: 0521654734

Category: Literary Criticism

Page: 244

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Key dimensions of Dostoevskii's writing and life are explored in this collection of specially commissioned essays. Contributors examines topics such as Dostoevskii's relation to folk literature, money, religion, the family and science. The essays are well supported by supplementary material including a chronology of the period and detailed guides to further reading. Altogether the volume provides an invaluable resource for scholars and students.
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127. on the innocence and narodnost of Gogol's devils, see: Gukovsky, Realizm Gogolya, pp. 54, 270, 271. W. J. Leatherbarrow (W. J. Leatherbarrow. A Devil's Vaudeville: The Demonic in Dostoevsky's Major Fiction, northwestern Up, 2005), ...

Author: Dina Khapaeva

Publisher: BRILL

ISBN: 9789004222755

Category: Literary Criticism

Page: 263

View: 226

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An analysis of the novels of Maturin, Gogol, Dostoevsky, Mann, Lovecraft and Pelevin through the prism of their interest in investigating the nature of the nightmare reveals the unstudied features of the nightmare as a mental state and traces the mosaic of coincidences leading from literary experiments to today’s culture of nightmare consumption.
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Histories of the Devil

He died fooled, showing that the laws of nature are also mendacious, there to keep the illusion of God in place, making everything 'a devil's vaudeville' (618). The devil's work is to keep things as they are. Suicide would be an escape ...

Author: Jeremy Tambling

Publisher: Springer

ISBN: 9781137518323

Category: Literary Criticism

Page: 308

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This book is about representations of the devil in English and European literature. Tracing the fascination in literature, philosophy, and theology with the irreducible presence of what may be called evil, or comedy, or the carnivalesque, this book surveys the parts played by the devil in the texts derived from the Faustus legend, looks at Marlowe and Shakespeare, Rabelais, Milton, Blake, Hoffmann, Baudelaire, Goethe, Dostoevsky, Bulgakov, and Mann, historically, speculatively, and from the standpoint of critical theory. It asks: Is there a single meaning to be assigned to the idea of the diabolical? What value lies in thinking diabolically? Is it still the definition of a good poet to be of the devil's party, as Blake argued?
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The Devil s Playground

Theater—whether vaudeville, operetta, or melodrama—was the popular culture of the day, and people all over the country demanded performers and productions "direct from Broadway.” In the 1890s, managers of theaters from across the ...

Author: James Traub

Publisher: Random House

ISBN: 9780307432131

Category: History

Page: 336

View: 541

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As Times Square turns 100, New York Times Magazine contributing writer James Traub tells the story of how this mercurial district became one of the most famous and exciting places in the world. The Devil’s Playground is classic and colorful American history, from the first years of the twentieth century through the Runyonesque heyday of nightclubs and theaters in the 1920s and ’30s, to the district’s decline in the 1960s and its glittering corporate revival in the 1990s. First, Traub gives us the great impresarios, wits, tunesmiths, newspaper columnists, and nocturnal creatures who shaped Times Square over the century since the place first got its name: Oscar Hammerstein, Florenz Ziegfeld, George S. Kaufman, Damon Runyon, Walter Winchell, and “the Queen of the Nightclubs,” Texas Guinan; bards like A. J. Liebling, Joe Mitchell, and the Beats, who celebrated the drug dealers and pimps of 42nd Street. He describes Times Square’s notorious collapse into pathology and the fierce debates over how best to restore it to life. Traub then goes on to scrutinize today’s Times Square as no author has yet done. He writes about the new 42nd Street, the giant Toys “R” Us store with its flashing Ferris wheel, the new world of corporate theater, and the sex shops trying to leave their history behind. More than sixty years ago, Liebling called Times Square “the heart of the world”—not just the center of the world, though this crossroads in Midtown Manhattan was indeed that, but its heart. From the dawn of the twentieth century through the 1950s, Times Square was the whirling dynamo of American popular culture and, increasingly, an urban sanctuary for the eccentric and the untamed. The name itself became emblematic of the tremendous life force of cities everywhere. Today, Times Square is once again an awe-inspiring place, but the dark and strange corners have been filled with blazing light. The most famous street character on Broadway, “the Naked Cowboy,” has his own website, and Toys “R” Us calls its flagship store in Times Square “the toy center of the universe.” For the giant entertainment corporations that have moved to this safe, clean, and self-consciously gaudy spot, Times Square is still very much the center of the world. But is it still the heart?
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Leatherbarrow, A Devil's Vaudeville, 108. George Steiner, Tolstoy or Dostoevsky, 2nd rev. ed. (Harmondsworth: Penguin Books 1967), 141. Discussed by Holquist, Dostoevsky and the Novel, 108–9. Jones, Dostoevsky and the Dynamics, 93.

Author: Rowan Williams

Publisher: Bloomsbury Publishing

ISBN: 9781441175120

Category: Religion

Page: 304

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When an Archbishop of Canterbury takes time off to write a book about Dostoevsky, this is a sign of great hope and encouragement for The Church of England and for all those who seek God. The current rash of books hostile to religious faith will one day be an interesting subject for some sociological analysis. But to counter such work, is a book of the profoundest kind about the nature and purpose of religious belief. Terrorism, child abuse, absent fathers and the fragmentation of the family, the secularisation and the sexualisation of culture, the future of liberal democracy, the clash of cultures and the nature of national identity - so many of the anxieties that we think of as being quintessentially features of the early twenty first century and on, are present in the work of Dostoevsky - in his letters, his journalism and above all in his fiction. The world we inhabit as readers of his novels is one in which the question of what human beings owe to each other is left painfully and shockingly open and there is no place to stand from which we can construct a clear moral landscape. But the novels of Dostoevsky continually press home what else might be possible if we - characters and readers - saw the world in another light, the light provided by faith. In order to respond to such a challenge the novels invite us to imagine precisely those extremes of failure, suffering and desolation. There is an unresolved tension in Dostoevsky's novels- a tension between believing and not believing in the existence of God. In The Brothers Karamazov, we can all receive Ivan with a terrible kind of delight. Ivan's picture of himself we immediately recognise as self-portrait. The god that is dead for him is dead for us. This Karamazov God of tension and terror is often the only one we are able to find. This extraordinary book will speak to our generation like few others.
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Rochester s Movie Mania

v v v \ Q ~ 1 o ' S ~ 0 ~ . ... as a showplace for vaudeville acts,” he explained. “That Christmas opening day, for example, featured not only a silent movie, but six vaudeville acts, including The Devil 's Circus, in Which a woman was ...

Author: Donovan A. Shilling

Publisher: Pancoast Publishing

ISBN: 9780982109045

Category: History

Page: 306

View: 715

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A new entertainment form - the movies - caused a sensation when the first silent flickers hit the silver screen. Few cities, however, embraced this new medium more than Rochester, New York. And the movie mania bug bit few as hard as it did author and historian Donovan Shilling. This son of a movie theatre owner was hooked after watching his first film, and began collecting all kinds of movie memorabilia, including posters, advertisements, photos and more. He has now dipped into his collection to compile this scrapbook tracing Rochester's Movie Mania. If you like this, keep watching because he has barely scratched the surface of his collection.
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By Authors Possessed

Kirillov's formulation of life without Christian faith is a " devil's vaudeville ” 30 ; therefore , Madame Virginskii's irritated repartee to Stavrogin's indecent pranks , that he ought to write vaudevilles ( 10 : 306 ) , provides a ...

Author: Adam Weiner

Publisher: Northwestern University Press

ISBN: 0810116146

Category: Literary Criticism

Page: 318

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By Authors Possessed examines the development of the demonic in key Russian novels from the last two centuries. Defining the demonic novel as one that takes as its theme an evil presence incarnated in the protagonists and attributed to the Judeo-Christian Devil, Adam Weiner investigates the way the content of such a book can compromise the moral integrity of its narration and its sense of authorship. Weiner contends that the theme of demonism increasingly infects the narrative point of view from Gogol's Dead Souls to Dostoevsky's The Devils and Bely's Petersburg, until Nabokov exorcised the demonic novel through his fiction and his criticism. Starting from the premise that artistic creation has always been enshrouded in a haze of moral dilemma and religious doubt, Weiner's study of the demonic novel is an attempt to illuminate the potential ethical perils and aesthetic gains of great art.
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Dostoevsky s Secrets

New York: Zone Books, 2003. Leatherbarrow, W. J. A Devil's Vaudeville: The Demonic in Dostoevsky's Major Fiction. Evanston, Ill.: Northwestern University Press, 2005. ———, ed. Dostoevsky's “The Devils”: A Critical Companion.

Author: Carol Apollonio Flath

Publisher: Northwestern University Press

ISBN: 9780810125322

Category: Literary Criticism

Page: 223

View: 522

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When Fyodor Dostoevsky proclaims that he is a "realist in a higher sense," it is because the facts are irrelevant to his truth. And it is in this spirit that Apollonio approaches Dostoevsky’s work, reading through the facts--the text--of his canonical novels for the deeper truth that they distort, mask, and, ultimately, disclose. This sort of reading against the grain is, Apollonio suggests, precisely what these works, with their emphasis on the hidden and the private and their narrative reliance on secrecy and slander, demand. In each work Apollonio focuses on one character or theme caught in the compromising, self-serving, or distorting narrative lens. Who, she asks, really exploits whom in Poor Folk? Does "White Nights" ever escape the dream state? What is actually lost--and what is won--in The Gambler? Is Svidrigailov, of such ill repute in Crime and Punishment, in fact an exemplar of generosity and truth? Who, in Demons, is truly demonic? Here we see how Dostoevsky has crafted his novels to help us see these distorting filters and develop the critical skills to resist their anaesthetic effect. Apollonio's readings show how Dostoevsky's paradoxes counter and usurp our comfortable assumptions about the way the world is and offer access to a deeper, immanent essence. His works gain power when we read beyond the primitive logic of external appearances and recognize the deeper life of the text.
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The Demonic

27 29 3O 31 32 Vaudeville: The Demonic in Dostoevsky 's Major Fiction (Evanston, Illinois: Northwestern University Press), p. 17. Cited in Leatherbarrow, A Devil's Vaudeville, p. 139. All references are to Fyodor Dostoevsky, ...

Author: Ewan Fernie

Publisher: Routledge

ISBN: 9780415690256

Category: Literary Criticism

Page: 312

View: 184

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Are we either good or bad, and do we really know the difference? Why do we want what we cannot have, and even to be what we're not? Can we desire others without wanting to possess them? Can we open to others and not risk possession ourselves? And where, in these cases, do we draw the line? Ewan Fernie argues that the demonic tradition in literature offers a key to our most agonised and intimate experiences. The Demonic ranges across the breadth of Western culture, engaging with writers as central and various as Luther, Shakespeare, Hegel, Dostoevsky, Melville and Mann. A powerful foreword by Jonathan Dollimore brings out its implications as an intellectual and stylistic breakthrough into new ways of writing criticism. Fernie unfolds an intense and personal vision, not just of Western modernity, but of identity, morality and sex. As much as it's concerned with the great works, this is a book about life.
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I Await the Devil s Coming Annotated Unexpurgated

He is now four years in the past, but himself and the memory of him still rouse deep-red poetry and passion in the ... More than prize-fighters and literary people, both of whom I do like, I like vaudeville people on and off the stage.

Author: Mary MacLane

Publisher: Petrarca Press

ISBN: 9781883304058

Category: Literary Collections

Page: 202

View: 112

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“Mary MacLane comes off the page quivering with life. She is before her time ... Moving.” - London Times With her first book - written in 1901 in Butte, Montana at age nineteen - she was hailed as a marvel by the likes of H.L. Mencken, Clarence Darrow, and Harriet Monroe. She went on to become a pioneering newswoman, gambler extraordinaire, bon vivant, and a star of the silent screen. She influenced Gertrude Stein, inspired F. Scott Fitzgerald, and upon her death in 1929 was eulogized as “an errant daughter of literature ... the first of the self-expressionists, and also the first of the Flappers,” as the creator of “that revolution in manners, that transvaluation of values in the female code of behavior known as the Roaring Twenties.” Too radical in style for 1902, its original publisher made countless changes to the author’s far-superior original - the same pacification reprinted by all other publishers. This annotated, unexpurgated affordable edition makes Mary Mac-Lane’s striking teenage debut - “the first of the blogs” - available in its unalterd, uncompromised form. “Mary MacLane’s first book was the first of the confessional diaries ever written in this nation, and it was a sensation.” - N.Y. Times editoral “Anyone who reads her will never forget her voice.” - Biographile “She reminds us of the power of personal narrative, honestly told.” - The Atlantic “In a pre-soundbite age she already knew how to draw blood in one direct sentence.” - The Awl “She had a short but fiery life of writing and misadventure, and her writing was a template for the confessional memoirs that have become ubiquitous.” - The New Yorker “One of the most fascinatingly self-involved personalities of the 20th century.” - The Age “A girl wonder.” - Harper’s “Confessional journalists have people like Mary MacLane to thank.” - Flavorwire “Her diaries ignited a national uproar, ushering in a new era for women’s voices. Her elegant, ambitious embrace of full-disclosure opened a door to what was possible for women.” - The Atlantic “Fiery frankness made her a pioneer.” - Time Out Chicago “Her poetry is one of extremes: lust for happiness, despair for life.” - Hairy Dog Review “Riveting.” - N.H. Public Radio “I Await The Devil’s Coming is a small masterpiece, full of camp and swagger.” - Parul Sehgal, NPR “Pioneering newswoman, later silent-screen star, considered the veritable spirit of the iconoclastic Twenties.” - Boston Globe “A pioneering feminist - a sensation.” - Feminist Bookstore News “First of the self-expressionists, and the first of the Flappers.” - Chicagoan Check www.marymaclane.com for exclusive content, news, and previews.
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King Lear the Space of Tragedy

It follows that the laws themselves are a lie and a vaudeville of the Devil . ' ( Dostoyevsky . ) The definition of the genre ' Devil's vaudeville ' is precise and expressive enough . Lear himself was thinking of something comparable ...

Author: Grigoriĭ Mikhaĭlovich Kozint︠s︡ev

Publisher: Univ of California Press

ISBN: 0520033922

Category: Performing Arts

Page: 260

View: 507

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Modern Occultism in Late Imperial Russia

For Derrida , a haunting is defined by the presence of a specter . ... W. J. Leatherbarrow , “ The Devil's Vaudeville : ' Decoding ' the Demonic in Dostoevsky's The Devils , ” in Davidson , Russian Literature , 279–306 . 71.

Author: Julia Mannherz

Publisher: Northern Illinois University Press

ISBN: 9781501757280

Category: History

Page: 316

View: 368

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Dostoevsky and the Dynamics of Religious Experience

Leatherbarrow, W J, 2000, The Devil's Vaudeville, in Davidson, Pamela (ed.), Russian Literature and the Demonic, Oxford, Berghahn pp. 279-306. Leatherbarrow, W J (ed.), 2002, The Cambridge Companion to Dostoevskii, Cambridge, ...

Author: Malcolm V. Jones

Publisher: Anthem Press

ISBN: 9781843312024

Category: Literary Criticism

Page: 183

View: 159

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'Dostoevsky and the Dynamics of Religious Experience' deals with the religious dimension of the novelist’s life and fiction. The book is structured through six clearly defined and self-reliant essays that take into account past and current criticism and offers a close textual analysis on Dostoevsky's works, including 'The Double', 'Notes from Underground', 'Crime and Punishment', 'The Idiot', 'The Devils' and an in-depth study of 'The Brothers Karamazov'.
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The Encyclopedia of Vaudeville

And why put temptation in the poor devil's way? Anyway, I always feel safer in a woman's hands.” Bert Savoy's end was as theatrical as his camping. On the sultry afternoon of Tuesday, June 26, 1923, he and a fellow vaudevillian, ...

Author: Anthony Slide

Publisher: Univ. Press of Mississippi

ISBN: 9781617032509

Category: Performing Arts

Page: 630

View: 146

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The Encyclopedia of Vaudeville provides a unique record of what was once America’s preeminent form of popular entertainment from the late 1800s through the early 1930s. It includes entries not only on the entertainers themselves, but also on those who worked behind the scenes, the theatres, genres, and historical terms. Entries on individual vaudevillians include biographical information, samplings of routines and, often, commentary by the performers. Many former vaudevillians were interviewed for the book, including Milton Berle, Block and Sully, Kitty Doner, Fifi D’Orsay, Nick Lucas, Ken Murray, Fayard Nicholas, Olga Petrova, Rose Marie, Arthur Tracy, and Rudy Vallee. Where appropriate, entries also include bibliographies. The volume concludes with a guide to vaudeville resources and a general bibliography. Aside from its reference value, with its more than five hundred entries, The Encyclopedia of Vaudeville discusses the careers of the famous and the forgotten. Many of the vaudevillians here, including Jack Benny, George Burns and Gracie Allen, Jimmy Durante, W. C. Fields, Bert Lahr, and Mae West, are familiar names today, thanks to their continuing careers on screen. At the same time, and given equal coverage, are forgotten acts: legendary female impersonators Bert Savoy and Jay Brennan, the vulgar Eva Tanguay with her billing as “The I Don’t Care Girl,” male impersonator Kitty Doner, and a host of “freak” acts.
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