Academic literature on the topic 'Foley Artist'
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Journal articles on the topic "Foley Artist"
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Donaldson, Lucy Fife. "The work of an invisible body." Alphaville: Journal of Film and Screen Media, no. 7 (June 25, 2014): 79–93. http://dx.doi.org/10.33178/alpha.7.05.
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On-screen bodies are central to our engagement with film. As sensory film theory seeks to remind us, this engagement is sensuous and embodied: our physicality forms sympathetic, kinetic and empathetic responses to the bodies we see and hear. We see a body jump, run and crash and in response we tense, twitch and flinch. But whose effort are we responding to? The character’s? The actor’s? This article explores the contribution of an invisible body in shaping our responsiveness to on-screen effort, that of the foley artist. Foley artists recreate a range of sounds made by the body, including footsteps, breath, face punches, falls, and the sound clothing makes as actors walk or run. Foley is a functional element of the filmmaking process, yet accounts of foley work note the creativity involved in these performances, which add to characterisation and expressivity. Drawing on detailed analysis of sequences in Cabaret (Bob Fosse, 1972) and Die Hard (John McTiernan, 1988) which foreground exertion and kinetic movement through dance and physical action, this article considers the affective contribution of foley to the physical work depicted on-screen. In doing so, I seek to highlight the extent to which foley constitutes an expressive performance that furthers our sensuous perception and appreciation of film.
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Tyquiengco, Marina. "Source to Subject: Fiona Foley’s Evolving Use of Archives." Genealogy 4, no. 3 (July 9, 2020): 76. http://dx.doi.org/10.3390/genealogy4030076.
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Since the 1980s, multidisciplinary artist Fiona Foley has created compelling art referencing her history, Aboriginal art, and her Badtjala heritage. In this brief essay, the author discusses an early series of Foley’s work in relation to ethnographic photography. This series connects to the wider trend of Indigenous artists creating art out of 19th century photographs intended for distribution to non-Indigenous audiences. By considering this earlier series of her work, this text considers Foley’s growth as a truly contemporary artist who uses the past as inspiration, invoking complicated moments of encounter between Europeans and Aboriginal Australians and their afterimages.
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Pinheiro, Sara. "Foley gesture: Towards a theory of acousmatic foley." New Sound, no. 61-1 (2023): 60–83. http://dx.doi.org/10.5937/newso23061060p.
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The research project "Acousmatic Foley" addresses common traits between foley art and Concrete Music, based on the idea that the foley artist is an acousmatic listener and, in turn, that acousmatic listening is a form of fiction. In this line, the study argues that both fields have similar treatment of the "sonorous object". For this purpose, the research builds on two lines of thought: the "son-en-scène" and the "mise-en-son". Firstly, the "son-en-scène" focuses on the sounds of the filmic miseen-scène (and its sound props), from very early cases to contemporary instances. The focus on these sound-props provides a perspective of sound for film that emphasizes its role as a tool of fiction and, thus, foley as the craft that leads to that experience. Secondly, "mise-en-son" sheds light on the making of the sound itself by exploring the concept of musical gesture. Either in contexts in which the musical gesture is visible (as with instruments), more cryptic (as with electronic devices), or completely delegated (as in acousmatic music), gesture can be seen a form of agency. Given that foley consists of maneuvering a sound-prop, gesture is as central to foley as it is to musical practices. This paper focus on the idea that gesture carries the same conception as the "sonorous object", that of an "intentional unit". In line with this, and in particular when of acousmatic nature, the research argues that the sonorous object is analogous to the sound-prop. In the end, these two lines of thought (son-en-scènce and mise-en-son) bridge the poietic and esthetic, as in Nattiez's semiotic distinction, towards an experience of "acousmatic foley".
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Keepe, Michael. "Eugene Foley. Artist Development: A Distinctive Guide to the Music Industry’s Lost Art." Journal of the Music and Entertainment Industry Educators Association 9, no. 1 (2009): 215–18. http://dx.doi.org/10.25101/9.15.
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White, Ethan Doyle. "Review: Pamela Colman Smith: Artist, Feminist, and Mystic, by Elizabeth Foley O’Connor." Nova Religio: The Journal of Alternative and Emergent Religions 27, no. 1 (August 1, 2023): 143–44. http://dx.doi.org/10.1525/nr.2023.27.1.143.
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Gamble, Jordan Robert. "Marketing madness or financial folly?" European Journal of Marketing 53, no. 3 (April 4, 2019): 412–41. http://dx.doi.org/10.1108/ejm-11-2017-0830.
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Purpose The purpose of this paper is to explore the implementation of equity crowdfunding (ECF) within the record industry in terms of challenges and opportunities, in addition to the marketing and financial implications for independent music artists and major record labels. Design/methodology/approach This study adopted a qualitative methodology consisting of two-stage interview-based research methods. A total of 44 semi-structured in-depth interviews were conducted with the CEOs of ECF platforms in the record industry, other related record industry informants, independent artist managers and senior executives from major record labels. Findings The loyalty aspect of ECF may have significant marketing potential in terms of inconspicuously using the equity platform as a “prosumer” identification mechanism. As this early career stage of artists is delicate in terms of establishing trust and patronage from their fans, these early marketing and ECF ventures should be implemented directly from the artist without external third-party involvement. Research limitations/implications The implications of this paper’s findings and theoretical model are not limited to the two studied stakeholder groups of the record industry. The insights in relation to the obstinate lack of understanding and clarity (particularly for independent artists) which surround ECF are likely to influence short-term strategic approaches by other players throughout the wider music industry. Practical implications The insights regarding negative approaches towards ECF by the labels may influence future “coopetition strategies” for independent labels, as they seek to navigate the changing industry dynamics. Originality/value This paper is the first study to empirically explore the predominantly under-researched area of ECF implementation in the record industry in terms of marketing and financial consequences for artists and labels.
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Canyakan, Seyhan. "Music technologist paradigms in music technology educationMüzik teknolojisi eğitiminde müzik teknoloğu paradigması." Journal of Human Sciences 14, no. 4 (January 2, 2018): 4838. http://dx.doi.org/10.14687/jhs.v14i4.5013.
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AimThe aim of this study is to inform the individuals who will prefer career steps for the departments because of the fact that music technology education in our country is not yet widespread on license basis and to give information about the field and to explain what career stages can be after graduating from department. In addition, a subordinate purpose of the study is to determine the qualities of the technologist candidate prepared for the music technology and to help him to prepare the appropriate qualities.MethodIt is one of the biggest misconceptions encountered today that music technology education is only concerned with dealing with voice recordings or with tone. As a result of this study, it is tried to be explained that the related education is divided not only into these two fields but also to more than one subfield. For this reason, discussions were held on what should be the career orientations of the music technology that benefited from the ideas of Phillips (2013), Middleton (2008), Wells (2001), Hosken (2011) and D'Escriv'an (2012). The method used in this study contains qualitative research methods as well as literature review.ResultAs a result of this research, music technology education has been seen as an indispensable element in today's music industry and it has resulted in a wide range of fan business opportunities from music supervisor, music composer, foley artist to music technologist who is not only on voice recording and tone recording. As a result of the study, it is concluded that preliminary studies have been completed that individuals who plan career in the field of music technology education will have more knowledge about their fields of study.Extended English abstract is in the end of Full Text PDF (TURKISH) file. ÖzetAmaçBu çalışmanın amacı, ülkemizde müzik teknolojisi eğitimi lisans bazında henüz yaygın olmaması nedeniyle bölümlerle ilgili kariyer basamaklarını tercih edecek bireylere alan ile ilgili bilgi vermek, bölümünden mezun olduktan sonra hangi kariyer basamaklarında olabileceklerini açıklamaktır. Ayrıca çalışmanın bir alt amacı müzik teknolojisine hazırlanan teknolog adayının sahip olması gereken niteliklerin belirlenmesi ve bu niteliklere uygun hazırlığını sağlamasına yardımcı olmaktır.YöntemGünümüzde müzik teknolojisi eğitiminin yalnız ses kayıt işiyle uğraşmak ya da tonmaystır olmakla ilgili olduğu sorunsalı karşılaşılan en büyük yanlış anlaşılmalardan biridir. Bu çalışma sonucunda ilgili eğitimin sadece bu iki alanla değil birden fazla alt alana ayrıldığı anlatılmaya çalışılmıştır. Bu nedenle Phillips (2013), Middleton (2008), Wells (2001), Hosken (2011), D’Escriv´an’ın (2012) fikirlerinden yararlanılmış ve müzik teknolojisi eğitimi gören müzik teknoloğunun kariyer yönelimlerinin ne olması gerektiğiyle ilgili tartışmalar yapılmıştır. İlgili bu çalışmada kullanılan yöntem Literatür taramasının yanısıra nitel araştırma yöntemlerini içerisinde barındırmaktadır.SonuçYapılan bu araştırma sonucunda müzik teknolojisi eğitiminin günümüz müzik endüstrisi içerisinde vazgeçilmez bir unsur olduğu görülmüş, müzik teknoloğunun işinin sadece ses kayıt ve tonmaysterlik üzerine olmadığı müzik süpervizörlüğünden, besteciliğe, foley artistine kadar çok geniş yelpazade iş olanaklarının olduğu sonucuna varılmış, müzik teknolojisi eğitimi alanında kariyer planlayan bireylerin çalışma alanları hakkında daha çok bilgi sahip olacağı öngürüsüyle çalışma tamamlanmıştır.
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Nożyński, Szymon. "Akuzmatyczność filmowych efektów dźwiękowych. Medialna mistyfikacja foley w kontekście sound designu." Przegląd Kulturoznawczy, no. 4 (50) (December 30, 2021): 715–28. http://dx.doi.org/10.4467/20843860pk.21.049.14966.
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Acousmaticity of Film Sound Effects: Media Mystification of Foley in the Context of Sound Design The text is about the foley profession, an important specialty performed as part of film sound design, at the post-production stage. What’s important here is both, the foley artist’s body, which becomes an instrument, and the ontology of created sounds, which are inserted into the finished film and synchronized with the picture. The author wonders if there is still a place for foley artists in the digital reality and common computerization of work. But the most important issue concerns the nature of sounds themselves, in the context of their production, acousmatics and the ubiquitous sound design. What is the sound implemented into the picture, does the picture give credence to the sound, even though the sound is “substituted” because it is produced in the studio? The situation is debatable, in the context of acousmatic listening (i.e. without the context of the source), because the picture provides a substitute context for the sound, and the viewer (listener) accepts this audio-visual relationship without reservation (as long as the sound is prepared well). Especially since by going to the cinema, the viewer agrees to a form of manipulation in the name of entertainment. Usually he or she is not aware of the mystification in the field of sound, which - within the oculocentric perception ‒ for him or her is only a complement to the picture, although, in fact, it plays a fundamental role in understanding what is happening on the screen. Other topics discussed in the text concern the communicativeness of sound and the historical background of the foley profession. Also important are the interrelations between foley and sound design and other areas of sound activity, as part of the preparation of all the audio layers of a film.
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wald, gayle. "‘have a little talk’: listening to the b-side of history." Popular Music 24, no. 3 (October 2005): 323–37. http://dx.doi.org/10.1017/s0261143005000541.
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forgotten recordings – such as ‘have a little talk with jesus’, the 1952 sister rosetta tharpe–red foley duet documented in this essay – may reveal a more complex account of popular music history than that which can be compiled from recordings that are remembered and passed on. released as the b-side of a red foley and the sunshine boys 45, ‘have a little talk’ is the product of a then-unprecedented collaboration in nashville of a black woman and a white man, people who couldn't have broken bread in a restaurant in that city at the time. yet ‘have a little talk’ is neither a transcendent record nor the record of a transcendent moment. rather, it attests to the multifaceted story-beneath-the-story of the links between country and gospel artists at a time when the former was consolidating its racial identity as ‘white’ and when major labels like decca faced increasing threats from independents putting out rhythm-and-blues. this essay attests to the challenges of writing the ‘b-side of history’ in the absence of a traditional (i.e. written or published) archive. through self-conscious storytelling based largely on oral histories, it attempts to reconstruct the foley-tharpe collaboration as a ‘magical moment’ in us popular music.
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Smith, Hester Camilla. "Artist as educator? Assessing the pedagogic role of folly in the early work of the Anglo‐Swiss artist Henry Fuseli (1741–1825)." Paedagogica Historica 46, no. 5 (September 28, 2010): 559–83. http://dx.doi.org/10.1080/00309230.2010.510477.
Full textDissertations / Theses on the topic "Foley Artist"
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Oliveira, Thaís Rodrigues. "Escuta vibrátil." Universidade Federal de Goiás, 2014. http://repositorio.bc.ufg.br/tede/handle/tede/8272.
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Submitted by Marlene Santos (marlene.bc.ufg@gmail.com) on 2018-03-08T19:38:06Z
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An increasing recurrence of the image study has arose from researches attentive to the problematical that involves themes like culture and society. We are “imgetic” beings and the contemporary society of consumption has powered the sense of vision in our daily life. However, there are few researches that use the sound and its relation to what is called “visual culture”. From the perspective of the cultural studies and of the visual culture, the aim of this paper is to identify a possible “audible” culture and how identitary souding meanings can be stimulated in the spectator / listener of the audiovisual material. Based on the souding vocabulary of an investigation concerning to the sound produced internment by the human body, this research seeks the conception of a practical work with the use of these images and sounds not common to our daily life.
Uma crescente recorrência ao estudo das imagem tem emergido de pesquisas atentas às problemáticas que envolvem temas como cultura e sociedade. Somos seres ‘imagéticos’ e a sociedade de consumo contemporânea há muito tempo tem potencializado o sentido da visão em nosso cotidiano. Contudo, ainda são poucos os trabalhos que utilizam o som e sua relação com a chamada “cultura visual”. A partir de uma perspectiva dos estudos culturais e da cultura visual, pretendo identificar uma possível cultura “audível” e como significações sonoras identitárias podem ser estimuladas no espectador/ouvinte do material audiovisual. Baseada no vocabulário sonoro de uma investigação acerca dos ruídos produzidos internamente pelo corpo humano, essa pesquisa visa a concepção de um trabalho prático com usos dessas imagens e sons incomuns ao nosso cotidiano.
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Bento, Bernardo Maria de Bourbon Martinho Meireles. "Relatório de estágio no bando à parte." Master's thesis, 2020. http://hdl.handle.net/10400.14/32897.
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O presente relatório descreve o estágio curricular realizado durante o segundo ano do mestrado em Design de Som na produtora cinematográfica Bando à Parte, no âmbito do som para cinema. A área de trabalho em que o estágio se inseriu foi a de produção e pós-produção de som para filme. Durante sete meses, no departamento de som do Bando à Parte, foi possível aplicar em contexto profissional todo o conhecimento assimilado no primeiro ano de mestrado. Qual a metodologia a seguir por um diretor de som numa produção cinematográfica? Como se procede à pós-produção de um filme? São algumas das questões que este relatório visa responder e, atendendo à prática apreendida durante o estágio, avaliar e compreender as respostas encontradas.This report describes the curricular internship developed during the second year of the master’s degree in Sound Design in the film production company Bando à Parte, in the scope of sound for cinema. The work area in which the internship was inserted was the production and post-production of sound for film. For seven months, in the sound department of Bando à Parte, it was possible to apply, in a professional context, all the knowledge assimilated during the first year of master’s degree. What is the methodology to be followed by a sound director in a film production? How does one proceed with the post-production of a film? These are some of the questions that this report aims to answer and, given the practice learned during the internship, to evaluate and understand the answers found.
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Ferreira, Lucas Tavares. "Reminiscências de uma paisagem de inverno." Master's thesis, 2021. http://hdl.handle.net/10400.6/12009.
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O presente relatório pretende apresentar o processo de criação do filme Reminiscências
de uma paisagem de inverno, projeto final do mestrado em Cinema da Universidade
da Beira Interior. Procurando explorar os diferentes temas e ideias que circundam o
projeto e a partir deles, discutir questões práticas como a realização e a direção de
fotografia.
O filme se insere no género de cinema de paisagem, procurando criar uma paisagem a
partir de imagens e sons captados ao longo de 8 meses em um espaço real, a serra da
Freita.The present report intends to show the process of creating the film Reminiscences of a winter landscape, the final project of the master's degree in cinema at the University of Beira Interior. Trying to explore the different themes and ideas that surround the project and from them, discuss practical issues such as directing and directing photography. The film is part of the landscape cinema genre, seeking to create a landscape from images and sounds captured over 8 months in a real space, Serra da Freita.
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Silva, João Paulo Sousa. "Postcanis." Master's thesis, 2019. http://hdl.handle.net/10400.14/32171.
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Na elaboração do presente relatório, realizado na especialização de Design de Som, pretendo englobar todo um conjunto de operações necessárias para o desenvolvimento sonoro para produções audiovisuais. Para esse efeito foi produzido um projeto que contou com a colaboração de alguns colegas de turma de Design de Som. O projeto consiste, preliminarmente, na criação de foleys e efeitos sonoros para um filme mudo que constitui uma referência na história do cinema, “Un Chien Andalou” de 1929, realizado por Luis Buñuel, com estreita pareceria com Salvador Dali. Neste processo de trabalho pretendo investigar diversas perspetivas de criação, de forma a poder exponenciar todas as possibilidades existentes para a recriação da peça. Embora seja comum encontrar várias recriações sonoras a partir de filmes antigos, esta proposta tem como especial particularidade o facto de associar a produção de foleys à produção musical.
Em relação à obra escolhida, a principal razão para esta opção foi tratar-se de uma referência histórica e simultaneamente ser caracterizada por um estilo invulgar e audaz em todas suas especificidades. A sua realização permite seguir uma abordagem relativamente livre e menos funcional do que num filme tradicional, podendo assim explorar e experimentar diversas características do som e música, procurando possíveis técnicas alternativas.In the preparation of this report, carried out in the Sound Design specialization, I intend to encompass a whole set of necessary operations for sound development for audiovisual productions. For this purpose a project was produced, which had the collaboration of some colleagues in the Sound Design class. The project consists, primarily, in the creation of foleys and sound effects for a silent film that is a reference in the history of cinema, “Un Chien Andalou” of 1929, directed by Luis Buñuel, in close partnership with Salvador Dali. In this work process I intend to investigate various perspectives of creation, in order to be able to expose all the existing possibilities for the recreation of the piece. Although it is common to find several sound recreations from old films, this proposal has the particularity of associating the production of foleys with music production. In relation to the chosen work of art, the main reason for this option was that it was a historical reference and at the same time characterized by an unusual and bold style in all its specificities. Its accomplishment allows to follow a relatively free and less functional approach to be followed in a traditional film, thus being able to explore and experimenting various characteristics of sound and music, seeking for possible alternative techniques.
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Araújo, Miguel Francisco Milhazes. "Relatório de estágio na Sketchpixel." Master's thesis, 2020. http://hdl.handle.net/10400.14/33614.
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Este trabalho final realizado no segundo ano de mestrado em Som e Imagem da Universidade Católica Portuguesa sob a forma de um relatório de estágio curricular, reflete toda a experiência e trabalho que foi desenvolvido na área de som para publicidade e aplicações interativas na Sketchpixel em Braga. Durante 6 meses, o estágio curricular incidiu em todas as áreas de som que eu abordei durante o meu primeiro ano de mestrado: captação, edição, produção, pós-produção, mistura e masterização de som, composição de banda sonora, mistura e masterização de banda sonora. Todo este conhecimento adquirido e posteriormente aplicado em contexto de trabalho profissional, possibilitou uma grande experiência para o meu crescimento pessoal, quer em termos de identidade artística, como também em termos de possíveis rumos a seguir para o meu futuro neste ramo.This final work, carried out in the second year of the master’s degree in Sound and Image from Universidade Católica Portugesa, in the form of a curricular internship report, reflects all the experience and work that was developed in the area of sound for publicity, advertising and interactive applications at Sketchpixel in Braga. For 6 months, the internship focused on all areas of sound that I covered during my first year of master’s degree: Sound capture, editing, production, post-production, mixing and mastering, soundtrack composing, mixing and mastering. All this knowledge acquired and subsequently applied in the context of professional work, enabled a great experience for my personal growth, both in terms of artistic identity, as well as in terms of possible directions for my future in this field.
Books on the topic "Foley Artist"
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Dean, Tacita. Foley artist. London: Tate Gallery, 1996.
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Helmrich, Michele. Fiona Foley: Forbidden. Sydney: Museum of Contemporary Art, 2009.
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Fiona, Foley, Gill Simryn 1959-, and Institute of Modern Art (Brisbane, Qld.), eds. Your place or mine?: Fiona Foley, Simryn Gill. Brisbane: Institute of Modern Art, 2002.
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Patrizia, Comand, Brant Sebastian 1458-1521, and Brant Sebastian 1458-1521, eds. Patrizia Comand: La nave dei folli = The ship of fools. Cinisello Balsamo, Milano: Silvana editoriale, 2015.
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Prentki, Tim. The fool in European theatre: Stages of folly. Houndmills, Basingstoke, Hampshire, UK: Palgrave Macmillan, 2012.
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Laurence, Janet. Edge of the Trees: A sculptural installation by Janet Laurence and Fiona Foley : from the concept by Peter Emmett. Edited by Emmett Peter, Dysart Dinah, and Historic Houses Trust of New South Wales. [Glebe, NSW]: Historic Houses Trust of New South Wales, 2000.
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Roland, Kanz, ed. Das Komische in der Kunst. Köln: Böhlau, 2007.
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The Foley Artist: Stories. Gaudy Boy LLC, 2019.
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Publishng, Movie &. T. V. Guru. Don't Panic! I'm a Professional Foley Artist : Customized 100 Page Lined Notebook Journal Gift for a Busy Foley Artist: Far Better Than a Throw Away Greeting Card. Independently Published, 2020.
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Jonna Kina: Foley Objects. Kehrer Verlag Heidelberg, Klaus Kehrer, 2015.
Find full textBook chapters on the topic "Foley Artist"
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"THE FOLEY ARTIST." In Muster Points, 78–79. University of Calgary Press, 2023. http://dx.doi.org/10.2307/jj.3252832.41.
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"The Foley Artist." In Muster Points, 78–79. University of Calgary Press, 2023. http://dx.doi.org/10.1515/9781773854540-041.
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Talijan, Emilija. "Listening to Things: Foley as ‘Alien Phenomenology’ and Peter Strickland’s Berberian Sound Studio." In Resonant Bodies in Contemporary European Art Cinema, 145–68. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474483452.003.0007.
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This chapter moves on to consider the practice of Foley artists themselves and their own form of listening, bringing this in line with contemporary non-anthropocentric philosophy. It asks if the Foley artist, in their attention to the interactions between things and their interobjectivity, could be said to be practicing a form of ‘alien phenomenology’ as defined by Ian Bogost (2012). These ideas are then taken back to film itself, to consider Peter Strickland’s Berberian Sound Studio (2012) which purports to make the sound production process visible within the film. However, I argue that sound challenges a logic of phenomenological manifestation and operates outside of the film’s audio-visual economy. In showing the workings of sound, the film gestures towards an exterior sitting at its heart, the Foley performance, that remains invisible. I argue that this performance becomes palpable, as felt or sensed, in the relation of sound to image that the film thematises.
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West, Michael. "Foley." In The Theatre Arts Audition Book for Men, 60–61. Routledge, 2018. http://dx.doi.org/10.4324/9781315059969-30.
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Potter, Rachel. "Introduction." In Modernism and Democracy, 1–11. Oxford University PressOxford, 2006. http://dx.doi.org/10.1093/oso/9780199273935.003.0001.
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Abstract The emergence of modernist literature coincided with the birth of the mass democratic state. Yet Anglo-American modernists are notorious for their hostility to democracy and liberalism. As Ezra Pound put it in 1914, ‘The artist has been at peace with his oppressors for long enough. He has dabbled in democracy and he is now done with that folly … The aristocracy of entail and of title has decayed, the aristocracy of commerce is decaying, the aristocracy of the arts is ready again for its service.’ Pound’s words announce the political terms of a new literary agenda. He debunks the artist’s enslavement to democracy and literary commerce, and imagines a new legislative role for the famously ‘unacknowledged’ poet legislators of Shelley’s fancy.
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Chapman, John. "‘A Mani Splendoured Thing’ – or Fermor’s Folly." In Lost and Now Found: Explorers, Diplomats and Artists in Egypt and the Near East, 283–90. Archaeopress Publishing Ltd, 2017. http://dx.doi.org/10.2307/j.ctv177tjkd.21.
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Woods, Susanne. "Lanyer And English Religious Verse." In Lanyer, 126–62. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195124842.003.0005.
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Abstract Religion defined the social, political, and intellectual life of me devil and Renaissance Europe. From the imperialist folly of the Crusades to individual sacrifices, from cathedrals and epics to vestments and sonnets, religion also infused and trans- ported the period’s artistic imagination. Today many find it hard to grasp the ubiquity and power of religion in the sixteenth and seventeenth centuries. It underlay virtually every assumption about the nature, purpose, and value of life, and what appear to us as small differences within a hegemonic worldview were reasons for debate, imprisonment, and even martyrdom.
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Obrecht, Jas. "December 1966." In Stone Free, 68–80. University of North Carolina Press, 2018. http://dx.doi.org/10.5149/northcarolina/9781469647067.003.0005.
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Jimi deepens his entanglement with manager Michael Jeffery by signing another ill-advised contract, and moves with Chas Chandler and Kathy Etchingham into an apartment owned by Ringo Starr. He begins assembling a wide-ranging collection of albums, including many by favourite blues artists Muddy Waters, John Lee Hooker, and Elmore James. After a visit with his former bandleader, Little Richard, Hendrix is accosted by the London police due to his skin color and clothing choices. The Jimi Hendrix Experience make their television debut on Ready Steady Go!, and record “Foxey Lady,” “Can You See Me,” “Love or Confusion,” “Red House,” and other original Hendrix compositions. The band’s first single, “Hey Joe” backed with “Stone Free,” is released to rave reviews. Then, while waiting backstage to perform at a Boxing Day matinee, Jimi composes “Purple Haze,” drawing inspiration from a Philip José Farmer science fiction short story. He rings in the new year with Noel Redding’s family.
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Barber, C. L. "Introduction: The Saturnalian Pattern." In Shakespeare's Festive Comedy. Princeton University Press, 2011. http://dx.doi.org/10.23943/princeton/9780691149523.003.0001.
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This chapter explores the connections between Shakespeare's comedies and Elizabethan holidays. It argues that the saturnalian pattern came to Shakespeare from many sources, both in social and artistic tradition. It appeared in the theatrical institution of clowning: the clown or Vice, when Shakespeare started to write, was a recognized anarchist who made aberration obvious by carrying release to absurd extremes. The cult of fools and folly, half social and half literary, embodied a similar polarization of experience. One could formulate the saturnalian pattern effectively by referring first to these traditions: Shakespeare's first completely masterful comic scenes were written for the clowns. But the festival occasion provides the clearest paradigm. It can illuminate not only those comedies where Shakespeare drew largely and directly on holiday motifs, like Love's Labour's Lost, A Midsummer Night's Dream, and Twelfth Night, but also plays where there is relatively little direct use of holiday, notably As You Like It and Henry IV.
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King, James. "Post-War Blues (1945–1947)." In Roland Penrose. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474414500.003.0011.
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This chapter details events in Roland Penrose's life from 1945 to 1947. Lee and Roland flew to New York City on 19 May 1946. Roland was elated to have the opportunity to rekindle his relationship with the Museum of Modern Art's (MOMA) director Alfred H. Barr, Jr., who likely warned him about the dangers he would face if he backed any kind of proposal to open a museum of modern art in London. Roland was taken with MOMA's collection: ‘Realizing that it was on a far greater scale that anything that could be dreamt of in London, consistently indifferent to all matters concerning the visual arts and still enfeebled by the war, this achievement nevertheless roused in me a longing to attempt some similar kind of folly at home’. Barr would also have expressed his gratitude to Roland for allowing his Picassos to be sent to MOMA during the war.