- The Star Poster Mini Promo (11 x 17 Inches - 28cm x 44cm) Style A
- The Amazon image is how the poster will look; If you see imperfections they will also be in the poster
- Mini Posters are ideal for customizing small spaces; Same exact image as a full size poster at half the cost
- Size is provided by the manufacturer and may not be exact
- Packaged with care and shipped in sturdy reinforced packing material
The Inventive Peasant Arnaud du Tilh had almost persuaded the learned judges at the Parlement of Toulouse, when on a summer's day in 1560 a man swaggered into the court on a wooden leg, denounced Arnaud, and reestablished his claim to the identity, property, and wife of Martin Guerre. The astonishing case captured the imagination of the Continent. Told and retold over the centuries, the story of Martin Guerre became a legend, still remembered in the Pyrenea! n village where the impostor was executed more than 400 years ago.
Now a noted historian, who served as consultant for a new French film on Martin Guerre, has searched archives and lawbooks to add new dimensions to a tale already abundant in mysteries: we are led to ponder how a common man could become an impostor in the sixteenth century, why Bertrande de Rols, an honorable peasant woman, would accept such a man as her husband, and why lawyers, poets, and men of letters like Montaigne became so fascinated with the episode.
Natalie Zemon Davis reconstructs the lives of ordinary people, in a sparkling way that reveals the hidden attachments and sensibilities of nonliterate sixteenth-century villagers. Here we see men and women trying to fashion their identities within a world of traditional ideas about property and family and of changing ideas about religion. We learn what happens when common people get involved in the workings of the criminal courts in t! he ancien régime, and how judges struggle to decide wh! o a man was in the days before fingerprints and photographs. We sense the secret affinity between the eloquent men of law and the honey-tongued village impostor, a rare identification across class lines.
Deftly written to please both the general public and specialists, The Return of Martin Guerre will interest those who want to know more about ordinary families and especially women of the past, and about the creation of literary legends. It is also a remarkable psychological narrative about where self-fashioning stops and lying begins.
The pathbreaking work of renowned historian Natalie Zemon Davis has added profoundly to our understanding of early modern society and culture. She rescues men and women from oblivion using her unique combination of rich imagination, keen intelligence, and archival sleuthing to uncover the past. Davis brings to life a dazzling cast of extraordinary people, revealing their thoughts, emotions, and choices in the world in which they ! lived. Thanks to Davis we can meet the impostor Arnaud du Tilh in her classic, The Return of Martin Guerre, follow three remarkable lives in Women on the Margins, and journey alongside a traveler and scholar in Trickster Travels as he moves between the Muslim and Christian worlds.The pathbreaking work of renowned historian Natalie Zemon Davis has added profoundly to our understanding of early modern society and culture. She rescues men and women from oblivion using her unique combination of rich imagination, keen intelligence, and archival sleuthing to uncover the past. Davis brings to life a dazzling cast of extraordinary people, revealing their thoughts, emotions, and choices in the world in which they lived. Thanks to Davis we can meet the impostor Arnaud du Tilh in her classic, The Return of Martin Guerre, follow three remarkable lives in Women on the Margins, and journey alongside a traveler and scholar in Trickster Travels as he moves between the Muslim and Christian ! worlds.
"[A] fascinating tale of a man forced! . . . t o live between incompatible worlds. Highly recommended." --Library Journal
Â
Al-Hasan al-Wazzan--born in Granada to a Muslim family that in 1492 went to Morocco--became famous as the great Renaissance writer Leo Africanus, author of the first geography of Africa to be published in Europe (in 1550). He had been captured by Christian pirates in the Mediterranean and imprisoned by the pope; when he was released and baptized, he lived a European life of scholarship as the Christian writer Giovanni Leone; by 1527, it is likely that he returned to North Africa and to the language, culture, and faith in which he had been raised. Natalie Zemon Davis offers a virtuoso study of the fragmentary, partial, and often contradictory traces that al-Hasan al-Wazzan left behind him, and a superb interpretation of his extraordinary life and work.
An Oscar-winning actress with a fading career is given one last chance a! t the spotlight."Come on, Oscar--let's you and me get drunk." This caustic Bette Davis line is not aimed at a co-star but at the Academy Award itself, which down-on-her-luck actress Margaret Elliot cradles bitterly at the beginning of an inebriated evening. As you can guess, Davis is at full-throttle in his ripe melodrama, which came a couple of years after
All About Eve and serves as a kind of less-classy companion piece to that classic. As the movie begins, Margaret has lost her career and family because of her own demanding nature. Rescued by a roughhewn boatbuilder (Sterling Hayden) she once befriended, she confronts what's most important--being a star, or being a (ahem) woman.
The rickety script and cut-rate production values betray The Star as a product of Davis's post-Warners wanderings. It does have some sunny location shots of San Pedro, plus a young Natalie Wood before she broke out of child-star roles. But the biggest draw, other than Davis, is ! the Hollywood behind-the-scenes juice, and the guessing game o! f how cl ose the material was to Davis's own career (rumor has it the character, who wants to glamorize herself for a supporting part as a slatternly housemaid, was based more on Joan Crawford). It ain't art, but it's an artifact of a different era, skipping between backstage expose and camp. --Robert Horton
As she did with Martin Guerre, Natalie Zemon Davis here retrieves individual lives from historical obscurity to give us a window onto the early modern world. As women living in the seventeenth century, Glikl bas Judah Leib, Marie de l'Incarnation, and Maria Sibylla Merian, equally remarkable though very different, were not queens or noblewomen, their every move publicly noted. Rather, they were living "on the margins" in seventeenth-century Europe, North America, and South America. Yet these women--one Jewish, one Catholic, one Protestant--left behind memoirs and writings that make for a spellbinding tale and that, in Davis' deft narrative, tell us more about the life ! of early modern Europe than many an official history.
All these women were originally city folk. Glikl bas Judah Leib was a merchant of Hamburg and Metz whose Yiddish autobiography blends folktales with anecdotes about her two marriages, her twelve children, and her business. Marie de l'Incarnation, widowed young, became a mystic visionary among the Ursuline sisters and cofounder of the first Christian school for Amerindian women in North America. Her letters are a rich source of information about the Huron, Algonquin, Montagnais, and Iroquois peoples of Quebec. Maria Sibylla Merian, a German painter and naturalist, produced an innovative work on tropical insects based on lore she gathered from the Carib, Arawak, and African women of Suriname. Along the way she abandoned her husband to join a radical Protestant sect in the Netherlands. Drawing on Glikl's memoirs, Marie's autobiography and correspondence, and Maria's writings on entomology and botany, Davis brings! these women to vibrant life. She reconstructs the divergent p! aths the ir stories took, and at the same time shows us each amid the common challenges and influences of the time--childrearing, religion, an outpouring of vernacular literature--and in relation to men.
The resulting triptych suggests the range of experience, self-consciousness, and expression possible in seventeenth-century Europe and its outposts. It also shows how persons removed from the centers of power and learning ventured in novel directions, modifying in their own way Europe's troubled and ambivalent relations with other "marginal" peoples.
Sometimes she's too big. Or much too small. Sometimes things are backwards. And there's always too much pepper in the soup! Nothing is quite right since Alice chased a very unusual White Rabbit and stumbled into an adventure that grows curiouser and curiouser.
One of the greatest childhood fantasies ever is captured in Irwin Allen's colorful, all-star production adapted from Lewis Carroll's Alice's Adventures in W! onderland. Steve Allen wrote the jolly, witty songs and more than a dozen Hollywood stars join in the wondrous fun. Alice is looking for a way home. And happy to be welcomed into yours.The king of 1970s disaster movies, producer Irwin Allen, brought together novelist Paul Zindel, songwriter Steve Allen, and a host of celebrities for a pair of 1985 TV movies paying homage to Lewis Carroll's
Alice. In this first installment, the 7-year-old girl dreams of being grown up enough to join the adults for tea, only to shrink to miniature size, climb through a hole beneath the door, and follow a twitchy Red Buttons in big white rabbit ears. Whether arguing with the Mad Hatter (Anthony Newley), or trying to keep her head in the company of the Queen of Hearts (Jayne Meadows), Alice is constantly running into a host of '70s and '80s personalities like Telly Savalas, Ringo Starr, Scott Baio, and Shelley Winters. If this roster isn't enough to make a poor girl trippy, she! also meets up with Sammy Davis Jr. as the caterpillar, and t! he pair perform an entertaining hip-hop-esque tap number to "Father William." An enjoyably campy version of Alice's wondrous journey, it features detailed sets, marvelously tacky costumes, and mildly clever musical numbers. This 90-minute TV movie's pleasant goofiness will amuse children 4 and older as well as nostalgically minded adults. The TV movie has been broken into two parts on video with
Alice Through the Looking Glass picking up where this one leaves off.
--Kimberly Heinrichs This collection features Natalie Dessay in five scenes of coloratura madness -- or near-madness -- by two Italian composers, two French composers, and one satirising American. Soprano characters who go insane are quite a feature of 19th-century opera, providing composers with an opportunity to write virtuosic and often adventurous music to express the wanderings of the poor heroine's mind. Here, Dessay sings the French version of the Bride of Lammermoor's famous post-nuptial scene.! Donizetti's heroine is driven to murder, but Elvira, the bride-to-be at the centre of Bellin's I Puritani, premiered in Paris in 1835, is no particular danger to anyone; her insanity is only temporary and the opera ends happily. Her mad scene, a more conventional operatic construction than Lucia's, features one of Bellini's loveliest fine-spun melodies. Nor is madness terminal in Meyerbeer's Dinorah (1859), set in rural Brittany and notable for featuring a (silent) supporting role for a pet goat. The heroine's delicious `Ombre légère' is the opera's greatest hit and here Dessay performs the extraordinary feat of singing a stratospheric A flat above top C. Far more tragic in its implications is the mad scene of Ophélie from Ambroise Thomas' Hamlet (1868), described by London's Observer as "a fiendish set-piece which . . . Natalie Dessay carries off with wondrous aplomb". Poor Ophelia strays through a number of contrasting sections before a vertiginous suicidal finale. De! ssay has performed Ophélie in London, Barcelona (available on! an EMI Classics DVD) and Toulouse, and she returns to the role in Spring 2010 at the Metropolitan Opera. Fast-forwarding nearly 100 years Dessay takes on Cunégonde in Leonard Bernstein's Candide, based on Voltaire's satirical novel and first staged on Broadway in 1956. This is not quite a mad scene: it starts off with Cunégonde bemoaning her descent into vice, but she cheers up at thoughts of her life of luxury, her near-hysterical coloratura Donizetti, Bellini, Thomas, Bernstein, Meyerbeer reflecting the bubbles in her champagne and the sparkle of her jewels. Recorded live at the EMI centenary concert at Glyndebourne, this performance was welcomed by Gramophone as an "hilarious performance, with Dessay dazzling in the lightest of coloratura".The Star Poster (11 x 17 Inches - 28cm x 44cm) (1953) Style A reproduction poster print
CAST: Bette Davis, Sterling Hayden, Natalie Wood, Warner Anderson, Minor Watson; DIRECTED BY: Stuart Heisler; PRODUCER: Bert E. Friedlob;
7:06 AM
admin
