#Jemima Newman | Explore Tumblr posts and blogs

dwellordream · 2 years ago

Text

The Virgin Mary and the Formation of Victorian Masculinities: Masculinity and Christianity

“In the nineteenth century clerical authority declined as Christian beliefs, and the biblical backing on which they depended, were increasingly challenged by a variety of new ways of thinking, including evolutionary theories and the development of Higher Criticism. Clerical authority was challenged also by the laity within the Established Church, as was shown by Parliament’s decision to abolish many of the Irish bishoprics in 1833 (the impetus for Keble’s ‘National apostacy’ sermon that marks the beginning of the Oxford Movement) and by the lay Privy Council’s Gorham decision.

Furthermore, declining church attendance meant that fewer people heard, or apparently even thought they needed to hear, the sermons that constituted a primary means by which clergymen exerted their authority. The 1851 religious census revealed that only about half the people in England and Wales attended church services. The downwards trend continued over the course of the nineteenth century, especially in urban areas. By the beginning of the twentieth century only about 20 percent of London’s population regularly attended church.

Another, albeit more nebulous, potential challenge to the authority of the clergy was the popular notion that women were more spiritual than men. Crediting women with a higher spirituality was not intended to challenge clerical authority, because female influence was supposed to be simple and confined to the domestic sphere, leaving public pronouncements and the study of theology to men. However, in practice it could do so: if women were innately spiritual, they might reasonably conclude that they had no need to subordinate themselves to male religious guidance.

A few women did seem to reach that conclusion: in 1860 Catherine Booth began preaching alongside, and sometimes in place of, her husband (a decision that eventually allowed other Salvation Army women to preach), and Florence Nightingale recorded her heterodox religious views in Suggestions for thought (the proofs of which led Manning to discourage her from converting to Roman Catholicism). Scholars have described some Victorian women writers, including Christina Rossetti, Harriet and Jemima Newman, and Charlotte Yonge, as theologians, arguing that their contributions to religious discussions merit that title.

This valorising of women’s fiction and poetry would likely not have been understood by their Victorian readers or perhaps even by the women themselves. However, the limited number of public challenges to male religious authority did not necessarily lessen the clergy’s perception that the spiritual woman was a competitor. Certainly Protestant clergymen’s highlighting Jesus’ rebuke of Mary when she interfered in his public work suggests an anxiety that a stated belief in women’s moral superiority could allow women to challenge men’s monopoly on religion in the public sphere.

While Catholicism’s emphasis on priestly authority could forestall a feminist challenge, Protestants found it difficult to access that option, given their less exalted view of the clerical role and the fact that some Protestant denominations either allowed women to preach or had done in the recent past. The erosion of clerical authority was especially evident in the Church of England’s loss of cultural and political as well as religious authority throughout the nineteenth century.

Anglicans lost their monopoly on parliamentary seats from 1828 onwards, when dissenters were admitted, followed by Roman Catholics (1829), Jews (1858), and atheists (1886). They lost their monopoly on the ancient universities in 1854, with the abolition of religious tests at Cambridge and Oxford. The problem of lay authority over the Church, exercised through Parliament and the Privy Council, was compounded when non-Anglican laity entered those bodies. As Paz notes, in the nineteenth century ‘the Church [of England] had an embattled mentality, largely because it really was threatened from all sides’.

The secular world offered little support to clergy undergoing this erosion of authority. Clerics were unable to conform to the dominant Victorian models of masculinity, which demanded worldly success and stature that were at odds with many of the professed values of Christianity. The erosion of clerical authority was also related to the decline of men’s domestic authority, as the ideology of separate spheres designated the home as the woman’s sphere. This occurred in spite of the fact that the unstable ideology of separate spheres was not, nor could ever be, fully implemented.

Nevertheless, it was a powerful cultural force, especially for the middle and upper classes who were most associated with it. John Tosh has shown that separate spheres were maintained even in middle-class families where the father worked in or close to the home: ‘the separation of spheres was centrally a matter of mental compartmentalisation which did not necessarily depend on a physical gulf between home and work. Whether the husband worked at home or used it merely as a refuge, he had little to do with domestic labour or domestic management.’

This does not mean that domesticity was divorced from masculinity. On the contrary, as Tosh has persuasively argued, domesticity was a key factor in asserting a masculine self-identity, beginning with the process of establishing a household. Nevertheless, the psychological gulf created in part by men’s overall lack of involvement in the daily household management would have been more likely to affirm, rather than to contest, the ideology of separate spheres on the individual level.

The effects of industrialisation, including the increasing separation of home and work and the gradual withdrawal of children from the labour force, would also have led, especially in the working classes, to the father’s growing distance from his children. This the educated classes had already experienced: boys of the elite could be sent to boarding school as early as the age of 3. Certainly many of the men who wrote about the Virgin Mary, including Pusey and Kingsley, experienced this distance from their fathers.

It does not seem to have determined their views of the Virgin Mary, however, as Pusey had, in general, a positive view of her, while Kingsley ultimately saw her as a threat to masculine self-rule. Laymen from the middle and working classes could respond to these changes by emphasising characteristics designated masculine, especially competitiveness, physicality, and an aggressive sexuality.

Victorian clergymen, however, found it increasingly difficult to conform to the dominant models of masculinity, thanks in large part to the evangelical revival, which began in the second half of the eighteenth century, and the Oxford Movement. Both movements emphasised personal holiness and discouraged clergymen from pursuits that were typically masculine (at least for the educated and property-owning classes) such as riding, shooting and hunting, dancing, and gambling.

Mark Robarts, the cleric in Anthony Trollope’s Framley parsonage, illustrates the dilemma men in his profession faced: as he is drawn into the aristocratic world of debts, high-priced horses, and dubious morals, he is uncomfortably aware that all of this is especially forbidden to him. His patroness, Lady Lufton, condemns him with her remark: ‘Mr Robarts’ character as a clergyman should have kept him from such troubles, if no other feeling did so.’

Pusey, though never so gay a figure as Mark Robarts, avoided such chastisement when he gave up pleasures such as hunting and novel-reading following his encounters with Pietists in Germany. Since clerics were generally barred from demonstrating physical prowess – or at least this was not a source of stature for them – some sought to define their intellectual work as masculine against the common perception that it was feminine and passive.

As Adams has noted, they could do so by emphasising their self-discipline and identifying themselves as gentlemen: ‘The gentleman was thereby rendered compatible with a masculinity understood as a strenuous psychic regimen, which could be affirmed outside the economic arena, but nonetheless would be embodied as a charismatic self-mastery akin to that of the daring yet disciplined entrepreneur.’

A more obvious role model for clergymen was Jesus. Unfortunately for them, however, traditional representations of Jesus bore little resemblance to the ideal Victorian man: ‘the meek and lowly Jesus’, as an anonymous female writer described him at mid-century, was born into poverty, lived in relative obscurity, and died one of the most disgraceful deaths the Roman Empire could impose. He was a far cry from the ideal Victorian man who was supposed to strive and win, first on the playing fields, and then in the brutally competitive marketplace, in the military, or in Parliament.

Jesus’ apparent celibacy placed him further at odds with the masculine ideal. The importance of the family meant that life-long celibacy was not a Victorian value, especially for men. This was clear in the accusations that priestly celibacy – which was mandatory for Roman Catholics and increasingly popular among advanced Anglicans – was unnatural. Kingsley condemned Roman Catholic priests as ‘prurient celibates’ and scorned celibate men as ‘not God’s ideal of a man, but an effeminate shaveling’s ideal’, while the historian Richard T. Hampson was convinced that the ‘Celibacy of priests is of Pagan origin and signification’.

The vast majority of Victorian Christians who rejected life-long celibacy had to acknowledge, however, that Jesus was apparently a celibate. There is no suggestion in Scripture that he had a wife or children, which in any case would have enormously complicated Christian theology by positing a race of semi-divine descendants. In order to allow a celibate Jesus to fulfill the masculine role of creating a family, Protestants insisted that his dismissive response to his mother and brothers’ interruption of his preaching demonstrated that he had abandoned his biological family for the spiritual one he had formed.

Jesus, William Thomas Maudson declared, ‘took occasion from the circumstance, to disparage, and almost to disclaim, this earthly relationship, and to represent it as decidedly inferior to that resulting from a spiritual connexion’. In spite of the gulf between the biblical Jesus and the ideal Victorian man, the Victorian church witnessed the curious attempt to merge the two, or at least to make them compatible.

Muscular Christianity, described by Adams as a ‘peculiar amalgam of athletic and devotional rhetoric’, was more significant in its cultural outreach to working-class men than in its reconfiguring of Jesus’ image, but it was nevertheless important as a symptom of the anxiety some Victorian men felt about their self-identity. One of the classic expressions of this attempt to describe Jesus as the premier example of masculinity was Thomas Hughes’s ‘arresting little book’, The Manliness of Christ.

Better known as the author of the Tom Brown books, Hughes found Christ to be ‘the true model of the courage and manliness’ because he was patient, disciplined, focused, and reliable. Although Hughes believed that ‘[t]rue manliness is as likely to be found in a weak as in a strong body’, he hoped that Jesus’ cleansing of the Temple ‘should satisfy those who think courage best proved by physical daring’.

Muscular Christianity had at best limited success in redefining the image of Jesus. Peter Gay has argued that the Jesus described by Hughes did not exemplify muscular Christianity because his masculinity was ultimately premissed on his suffering. I would broaden the focus to argue that the suffering of Hughes’s Jesus was only the final example of his submission to God’s will, for Hughes describes Jesus as being ‘in perfect accord with the will of God’ throughout his life.

While submission to the will of another was hardly a hallmark of Victorian masculinity, the noted Brighton preacher Frederick W. Robertson attempted to redefine it as a masculine quality by describing Jesus’ suffering as exemplifying masculine self-sufficiency: [T]he strength that is in a man can be only learnt when he is thrown upon his own resources and left alone. What a man can do in conjunction with others does not test the man ... It is one thing to rush on to danger with the shouts and the sympathy of numbers: it is another thing when the lonely chieftain of the sinking ship sees the last boatful disengage itself, and folds his arms to go down into the majesty of darkness, crushed, but not subdued. Such and greater far was the strength and majesty of the Saviour’s solitariness.

Robertson’s image was unconvincing because the comparison was inexact. While Robertson deemed the captain who drowned rather than to take up a place in a rescue boat noble and courageous, at the most – and this part is not clear – the captain may have allowed someone else to be saved. In contrast, Christians believed that Jesus’ death saved all of humanity. Because Robertson does not explicitly say that the captain gave up his life to save another’s, an alternative but equally plausible reading of his analogy is to conclude that the captain’s death was an act of self-destruction in the guise of noble sacrifice.

While Robertson’s example illustrates the difficulty of finding contemporary comparisons to Jesus’ suffering as described in all four gospels, the problem lay in the attempt generally, rather than in the specific example. In fact, all of the efforts to define Jesus as an impressively self-reliant man failed, because the gospels describe a man whose actions and sense of self are at odds with the values of muscular Christianity. The impossibility of remaking the image of Jesus to conform to the demands of muscular Christianity was only the most obvious reason for the failure of that movement.

Another was that defining both Christ and his worshippers as masculine excluded women, who made up the majority of worshippers. When the Anglican cleric George Croly determined that Christianity was ‘a manly religion, addressed to manly understandings, and to be taught in manly language’, and called for ‘a large body of active, vigorous, and learned men, superintending the Establishment, and especially marshalling its learning and ability, for the contest with Sectarianism’, or when Hughes assured his audience that the ‘conscience of every man recognises courage as the foundation of manliness, and manliness as the perfection of human character’, they blatantly ignored more than half of their congregations.

Even when Hughes acknowledged the reality of female Christians he did not modify his basic understanding of Christianity as a masculine religion: ‘And then comes one of the most searching of all trials of courage and manliness, when a man or woman is called to stand by what approves itself to their consciences as true, and to protest for it through evil report and good report, against all discouragement and opposition from those they love or respect.’ He left his audience with the ludicrous image of a woman undergoing ‘trials of courage and manliness’.

Furthermore, the vigorous, at times even martial, language of those clergy who preached muscular Christianity left little room for traditional Christian virtues such as patience, humility, and charity. Finally, by positing a more limited and rigid definition of masculinity that virtually excluded women, muscular Christianity created the opportunity for a separate feminine presence to emerge; and that may have been an underlying factor in the failure of the movement.

In part to avoid this complication, Victorian Christians often abandoned the manly Jesus in favour of a Saviour who was described in feminine terms, a project that had a counterpart in Victorian paintings – including William Holman Hunt’s The Light of the World, The shadow of death, and The finding of the Saviour in the Temple; Ford Madox Brown’s Christ washing Peter’s feet; and John Everett Millais’s Jesus in the house of his parents – that depicted Jesus as feminine, or even effeminate.

Mrs Ellis defined Jesus, in The daughters of England, as the exemplar of feminine virtues to the extent that, as Claudia Nelson has argued: ‘By the climax of the book, indeed, she is implicitly comparing women to Christ, the only man ever to exhibit the feminine self-sacrifice, pure devotion, and “capacity for exquisite and intense enjoyment.”’

The nonconformist cleric Henry Hamlet Dobney found Jesus to be ‘the compassionate Redeemer’ and assured Victorians that artists generally ‘assume a predominance of the feminine in him’, while the traditional high-church cleric Augustin Gaspard Edouart relied on ‘the Lord Jesus’s boundless mercy, tender love, and abundant compassion’, and praised Jesus as ‘an omniscient, merciful, all-powerful, tenderly loving Mediator, who is exactly suited to our need and requirements’.

Feminine and masculine qualities alternated here, as if Edouart wanted to insist that they were as completely intermingled as were Jesus’ human and divine natures. The Victorian stereotype of the loving mother as the counterpoint to the stern father who went out into the brutal world of the marketplace provided the antidote to the brutal competition associated with the public sphere. Jesus, as he was traditionally represented, did not require a feminine counterpoint to his work of salvation, which ignored the boundary between public and private, as he himself was represented in the gospels and in the Christian tradition as obscuring the distinctions between masculine and feminine.

Describing Jesus as both masculine and feminine eliminated Mary (and the feminine generally) as a competitor to the masculine as embodied by the Saviour, the role model especially for the clergy. It did not, however, solve the problem for Victorian clerics, who did not generally see themselves as embodying feminine as well as masculine traits. A more promising solution to the quandary of their declining authority was to define the Virgin Mary as a particular type of the feminine, against or in conjunction with which they could define themselves as independent men.”

- Carol Engelhardt Herringer, “The Virgin Mary and the Formation of Victorian Masculinities.” in Victorians and the Virgin Mary: Religion and Gender in England 1830-1885

#carol engelhardt herringer #victorian #history #victorians and the virgin mary #gender #religion #christian

10 notes · View notes

genevieveetguy · 6 years ago

Photo

Jellyfish, James Gardner (2018)

#James Gardner #Simon Lord #Liv Hill #Sinead Matthews #Cyril Nri #Angus Barnett #Tomos Eames #Victoria Alcock #Helen Kennedy #Henry Lile #Jemima Newman #Connor Mills #Jay Sajjid #Peter E. Riches #Victor Hugo Fumagalli #Sian Clarke #2018

0 notes

audreysmusicaljourney · 3 years ago

Text

Album #57: The Band “The Band” (1969)

I have heard of the Band before, but I have never heard of this album before. Based solely from the photo on the album, they seem like some dudes with whom I could hang. I think I’ll probably like this album.

“Across the Great Divide” has an okay sound; the vocals seem a little off to me but they work to weave an effective narrative thread through this track. I like the use of the piano to create the rhythm for the track. “Rag Mama Rag” definitely has a ragtime vibe to it with some country, folk, and rock infusions. This track is mostly all about the piano. The track “The Night They Drove Old Dixie Down” is a country rock track which, according to Wikipedia, is referred to as roots rock. There is a lot of suffering within this track, which gives it a blues vibe. I like the harmonica on this track. “When You Awake” has a ragtime sound to it as well, but it a solid, yet softer ‘60s rock sound with the organ. I like this tone of the lead vocalist on this track. He’s actually the first vocalist whose tone I liked. “Up on Cripple Creek” is the second song about Cripple Creek that I have heard on this journey. This song has a funk sound with the use of the wah-wah pedal. I do like the tone of the vocalist on this track. “Whispering Pines” is a ballad on which the Band uses staggered vocals to create a whispering effect.

The second half of this album has me rethinking a low rating for this album. I like the rock sound of “Jemima Surrender.” It sounds like something by Lynyrd Skynyrd. There are a lot of sounds on this track, but they work well together. This sounds like a harder rock version of “Rag Mama Rag.” The track “Rockin’ Chair” has a slower, folk sound to it. I like the sound of this song. “Look Out Cleveland” has a nice blues rock sound to it. I really like the tone of Rick Danko’s vocals on this track. He kind of reminds me of Randy Newman. “Jawbone” is a rock song featuring the piano and soulful vocals from Richard Manuel. There is an impressive guitar solo near the end of this track. There is a heaviness to the track “The Unfaithful Servant” as it slogs along. The acoustic guitar lightens up the tone a bit before the saxophone and tuba join in to create a mournful sound. “King Harvest (Has Surely Come)” has more of an upbeat sound. This sounds like a ‘70s country disco rock song, which is something I never expected to hear before. It’s pretty good. A solid way for the album to close out.

Rating: 8.5/10

How I Listened: Spotify

Takeaway: This album is good, and initially I thought it was overrated. The second half is where it is at on this album. There are a lot of sounds, but they generally work well together. This would be a good album to buy because you get a lot of bang for your buck. It’s likely everyone would find at least one song to like on this album.

#rs500albums #nowspinning #nowstreaming

0 notes

tizianomazzilli · 5 years ago

Photo

MR. VOYAGE—THE MENTAL TRAVELLER™️ Tiziano Mazzilli has been a creative force in fashion since he put together his first designer denim collection over 25 years ago. Valentino, Ferragamo, Ginfranco Ferré, Nino Cerruti, Benetton, Daks Luxury Line and Firoucci, are some of the famous Designer Houses that Tiziano designed for. Over the years, he developed a reputation internationally as a designer of sell-out sophisticated, beautiful clothes for Men & Women. In 1990 Tiziano opened the world famous VOYAGE store on Fulham Road, in London. It became the first stop for rock and film stars, models and beautiful people from around the world looking for fabulous clothes. In July 2005, Taziano launched a new label under his own name. THE LOOK Taziano Mazzilli is a collection of beautiful garment, each immaculately finished. Long dresses, kimono coats and bustiers are hand-painted, embroidered or embellished with antique trims. Denim is customized and leather is stretched of beautifully distressed. Inspired by Tibet, Native American and Asian influences, the collection blends folk rock flare and romance with a rock edge reflecting Tiziano’s unique vision. Elegant and exotic, blond and beautiful, confident and comfortable, the Tiziano Mazzilli collection are available in some of the best boutiques worldwiede. WHO WEARS IT Tori Amos, Asia Argento, Sunetra Atkinson, Antonio Banderas, Bernardo Bertolucci, juliette Binoche, Bjork, Naomi Campbell, Cher, Helena Christiansen, Cindy Crawford, Sheryl Crow, Tom Cruise, Jamie Lee Curtis, Mr. & Mrs. Robert de Niro, Robert Deveraux, Sophie Dahl, Linda Evangelista, Norman Foster, Rebecca Gayheart, Michelle Gayle, Whoopi Goldberg, Goldie, Jemima Kahn, Melanie Griffith, Goldie Hawn, Michelle Hicks, Dustin Hoffman, Lauren Hutton, Jade Jagger, Ashley Judd, Donna Karan, Duchess of Kent, Nicole Kidman, Simon & Yasmin le Bon, Sean Lennon, Daniel Day Lewis, Courtney Love, Madonna, Valeria Mazza, Michael Mann, Steve Martin, Tony Minghella, Kylie Minogue, Matthew modine, Gary Moore, Karen Mulder, Carolyn Murphy, Martina Navratilova, Michael Newman, Gary Oldman, Oko Ono, Julia Ormond, Brian De Palma, Gwyneth Paltrow, Alan Parker. (at London, Unιted Kingdom) https://www.instagram.com/p/B8UOiWKn8ih/?igshid=qqv7b0m6zh55

0 notes

tart-pastry · 6 years ago

Text

(An incomplete) Catalog Of Ridiculous Names In Charles Dickens’ Novels.

Abel Garland

Abel Magwich

Adolphus Tetterby

Alfred Jingle

Affery Flintwinch

Anne Chickenstalker

Anthony Jeddler

Augustus Snodgrass

Barnaby Rudge

Bayham Badger

Bazzard

Bella Wilfer

Bentley Drummle

Betsy Prig

Betsy Quilp

Betsy Trotwood

Brownlow

Bucket

Bumble

Caroline “Caddy” Jellyby

Charity Pecksniff

Clara Peggotty

Cleopatra Skewton

Clickett

Cornelia Blimber

Canon Crisparkle

Charles Cheeryble

Chevy Slyme

Clarence Barnacle

Clarriker

Creakle

Dick Datchery

Dick Swiveller

Dolge Orlick

Duff

Durdles

Ebenezer Scrooge

Elijah Pogram

Ephraim Flintwinch

Fanny Cleaver

Fanny Squeers

Flora Finching

Fagin

Fezziwig

Fledgeby “Fascination”

Grace Jeddler

Gaffer Hexam

General Cyrus Choke

Grewgious

Helena Landless

Henrietta Boffin

Henrietta Petowker

Ham Peggotty

Hannibal Chollop

Harold Skimpole

Herbert Pocket

Isabella Wardle

Jemima Bilberry

Jerry Cruncher

Job Trotter

John Peerybingle

Josiah Bounderby

Kit Nubbles

Kenge

Krook

Lavinia Wilfer

Lucretia Tox

Luke Honeythunder

Malta Bagnet

Mercy Pecksniff

Martin Chuzzlewit

M’Choakumchild

Mealy Potatoes

Mould

Ninetta Crummles

Nadgett

Nathaniel Winkle

Neckett

Nemo

Newman Noggs

Noddy Boffin

Oliver Twist

Peg Sliderskew

Pet Meagles

Pleasant Riderhood

Polly Toodle

Paul Sweedlepipe

Perker

Phil Squod

Prince Turveydrop

Pumblechook

Quinion

Ruth Pinch

Redlaw

Rogue Riderhood

Sairey Gamp

Sissy Jupe

Sophronia Lammle

Susan Nipper

Sleary

Sloppy

Slurk

Smalweed

Smike

Snagsby

Snawley

Stryver

Tartar

Theophile Gabelle

Toots

Trabb

Tulkinghorn

Tungay

Tattycoram

Uriah Heap

Vholes

Vincent Crummles

Volumnia Dedlock

Wackford Squeers

Zephaniah Scadde

#Books #Charles Dickens

1 note · View note

princessnijireiki · 5 years ago

Text

this just in… apparently there was a SECOND role meant for paul newman that he turned down for excessive senseless violence before clint eastwood got cast as the second-choice replacement, which is hilarious in and of itself even before you realize "the eiger sanction" was a movie about:

an ex-assassin turned art professor turned assassin again, solely motivated to kill again by his albino nazi vampire boss named dragon (what???) threatening to reveal his secret art collection, funded by past assassination payments, to the fucking irs (WHAT????)

and the bad guys are a gay man, a black woman spy named jemima who sleeps with eastwood & robs him, and the albino nazi vampire (only the gay man dies)

the assassin is also a mountain climber

also someone on the crew DIED + several people were horrifically injured because mountain climbing in the alps is fucking difficult when you ignore safety warnings from the swiss government, surprising no one familiar with mountains, snow, or switzerland & its successful military history of being left the fuck alone specifically because of the alps being so difficult to fuck around with

like… the mountain is called eiger. it means ogre. the german nickname for the mountain is mordwand. it means murder wall

this was especially exacerbated by clint eastwood (fresh off of WEEKS— not months, not years, but weeks of mountain climbing training… in california) being a big enough diva & general moron to insist on doing ALL his own stunts & climbing shots in the film

eastwood also directed so literally this lack of preparation was all on him

one of the people injured (a cameraman who was hurt badly enough he couldn't walk for a while afterwards & needed a wheelchair to recover) said all the carnage was basically eastwood's fault for being impatient & unprofessional & stupid & lazy

keeping in mind this whole story was based on a book MEANT to be a spoof of hyper-violent hyper-foolish james bond "espionage" literature… like none of this had to be that serious in the first goddamn place

and it flopped

AND eastwood blamed the studio for the film's failure.

eye mean… one has to laugh, one really must, but good lord, what a giant clusterfuck & also WOW look at the blood on clint eastwood's hands, holy fucking shit.

still thinking about how "dirty harry" was pitched to paul newman & his left wing ass was like "lmao nah… try calling clint eastwood" in what I imagine & hope was the same tone of that saleswoman at 3•5•7 in mean girls going "sorry, can't help you… you could try sears"

#clint eastwood's whole wikipedia is basically ''bootlicker diva bitch & political moron who really likes jazz i guess''#but this uhhhhhh stood out among the casual fascism bc holy SHIT #paul newman really said ''ew fuck that'' twice & both times clint eastwood said ''what if i personally made it worse''#fucking… jaw-dropping.

55 notes · View notes

tuseriesdetv · 7 years ago

Text

Noticias de series de la semana: Los finales de 'Juego de Tronos'

Varios finales para GoT

Casey Bloys, presidente de programación de HBO, comentó en su visita a una escuela privada de arte en Pensilvania que se grabarán múltiples finales para Game of Thrones y ni siquiera sus actores conocerán el final de la serie. La cadena no ha confirmado estas afirmaciones. La producción de la última serie comienza en octubre. [Fuente]

Asesinan a un miembro del equipo de Narcos

Carlos Muñoz Portal, de 37 años, buscaba localizaciones en México para la grabación de la serie. El pasado lunes algo salió mal, no entienden que Carlos, conocido por su trabajo en las películas Spectre, Sicario o Apocalypto, viajase solo y sin protección. Encontraron su coche incrustado en una nopalera en un camino cerca del barrio de San Bartolo Actopan (Temalascapa) -junto a la frontera del estado de Hidalgo, zona conocida por sus homicidios relacionados con la droga- y a Carlos muerto con varios disparos. Se cree que pudo haber una persecución. Netflix envía sus condolencias a la familia y comenta que las autoridades siguen investigando razones del asesinato. [Fuente]

Continuación de Feud: Olivia and Ryan

El juicio contra Feud y FX por parte de Olivia de Havilland llegará mucho antes de lo que cabría esperar, y, obviamente, su edad ha propiciado acelerar el proceso. Su abogada defiende que su representación en la serie no está protegida por la Primera Enmienda, ya que el discurso libre en televisión está limitado, y denuncian a Feud por vulnerar el derecho de publicidad de Olivia -el uso público de su nombre-, la invasión de su privacidad y el enriquecimiento ilícito poniendo en su boca palabras que nunca dijo y retratándola como una hipócrita que vendía chismorreos para autopromocionarse. Olivia, que tiene ahora 101 años, presentó la demanda en junio insistiendo, por ejemplo, en que nunca llamó "bitch" a su hermana, que no es un lenguaje propio de ella y que Feud dañó su reputación profesional de integridad, honestidad, generosidad, autosacrificio y dignidad. De momento, los abogados de FX contraatacan con enlaces de YouTube en la que se puede ver a Olivia diciendo cosas como "son of a bitch" al equivocarse en sus grabaciones, a lo que de Havilland contesta que eran reacciones del momento pensando que se encontraba en un ambiente confidencial. El juicio comenzará el 27 de noviembre y durará entre cinco y siete días. [Fuente]

Renovaciones de series

History ha renovado Vikings por una sexta temporada

ITV2 ha renovado Plebs por una cuarta temporada

TBS ha renovado The Guest Book por una segunda temporada

TBS ha renovado People of Earth por una tercera temporada

TBS ha renovado Wrecked por una tercera temporada

Netflix ha renovado Atypical por una segunda temporada

Cancelaciones de series

Freeform ha cancelado Stitchers tras su tercera temporada

BBC Two ha cancelado W1A tras su tercera temporada

Bravo ha cambiado de opinión y no estrenará All That Glitters, la event series de seis episodios sobre la amistad y rivalidad de las editoras Anna Wintour (Vogue) y Tina Brown (Vanity Fair y The New Yorker) que encargó en mayo.

Incorporaciones y fichajes de series

Jacob Artist (Glee, Quantico) será recurrente en la segunda temporada de The Arrangement como Wes Blaker, un joven encantador con un agudo sentido del humor y un lado oscuro.

Bonnie Hunt (Jumanji, Beethoven) será Catherine Leahy Scott, la inspectora encargada de investigar la fuga, en Escape at Dannemora.

Jane Seymour (Dr. Quinn, Medicine Woman) será Janet, madre de Joe Force (Matt Jones) y antigua Reina de la Belleza de Texas, en Let's Get Physical.

Jason George (Ben Warren) será regular en el spin-off de Grey's Anatomy. Seguirá en la original hasta que comience la producción del spin-off centrado en un grupo de bomberos de Seattle.

Jane Lynch (Glee) y Andrew Rannels (Girls) participarán como invitados en la novena temporada de Will & Grace.

Vanessa Williams (Desperate Housewives, Ugly Betty) participará como invitada en la novena temporada de Modern Family.

Morgan Spector (The Mist, Person of Interest) se une a la séptima temporada de Homeland como regular. Será Dante Allen, un antiguo amigo de Carrie (Claire Danes) que está investigando a los cientos de sospechosos del intento de asesinato. Mackenzie Astin (Scandal, The Magicians) será recurrente como Bill, cuñado de Carrie.

Corey Stoll (The Strain), Andrew Rannells (Girls), Mike Doyle (Odd Mom Out), JJ Feild (Turn), Janet Montgomery (Salem) y Paul Reiser (Mad About You) participarán en The Romanoffs.

Brian Letscher (Scandal) y Bryan Craig (General Hospital) serán recurrentes en Valor como Tucker Magnus, director de una división de la CIA, y Adam Coogan, agente del Delta Force.

Jemima Kirke (Girls) se une a Maniac como recurrente. Se desconocen detalles.

Garret Dillahunt (The Mindy Project, Raising Hope) se une como regular a The Gifted. Será un mutante llamado Roderick Campbell. Jermaine Rivers será recurrente como Shatter.

Isabel Lucas (Emerald City, Home and Away) se una a la segunda temporada de MacGyver.

Shaun Sipos (Dark Matter, The Vampire Diaries) se une a Krypton como regular. Será el humano Adam Strange.

Charlotte Riley (Peaky Blinders, Close to the Enemy), Ben Chaplin (Dates, Apple Tree Yard), Ellie Kendrick (Game of Thrones, Misfits), David Suchet (Poirot), Priyanga Burford (Fearless), Paapa Essiedu (Utopia), Al Weaver (Grantchester), Shane Zaza (Happy Valley, Will) y Brendan Cowell (Game of Thrones, The Borgias) protagonizarán Press (BBC One), sobre la prensa en estos tiempos de corrupción, escándalos y hackeos, escrita por Mike Bartlett (Doctor Foster).

Lulu Wilson (Ouija: Origin of Evil, Annabelle: Creation) y Victoria Pedretti serán recurrentes en The Haunting of Hill House.

Hari Nef (Transparent) será recurrente en You como Blythe, una rival de Beck (Elizabeth Lail) en el posgrado de bellas artes.

La puertorriqueña Isabel Arraiza será recurrente en The Oath como Lourdes, hija del abogado Victor Moreno.

Liannet Borrego (The Haves and the Have Nots, Pasión prohibida) será recurrente en la cuarta temporada de The Last Ship como Amara Ollanta, miembro del equipo de Octavio en el Gran Colombian.

Robin Thomas (Zoo, Crazy Ex-Girlfriend) será el fiscal David Conn en los dos últimos episodios de Law & Order: True Crime - The Menendez Murders.

Alexandra Billings (Transparent) será recurrente en la segunda temporada de Goliath como la jueza Martha Wallace.

Keke Palmer (Scream Queens, Grease Live!), Jessica Sula (Recovery Road, Skins), RJ Cyler (I'm Dying Up Here, Me and Earl and the Dying Girl), Giorgia Whigham y Giullian Yao Gioiello (Julie's Greenroom) protagonizarán la tercera temporada de Scream junto a los raperos Tyga y CJ Wallace, confirmados anteriormente.

Riley Smith (Nashville, Frequency) será recurrente en Life Sentence como el oncólogo Will Grant.

Christian Keyes (Saints & Sinners) será la nueva apariencia de Michael en la decimotercera temporada de Supernatural.

El actor ruso Danila Kozlovsky será Oleg de Nóvgorod, también conocido como Oleg el profeta, en la sexta temporada de Vikings.

Brittany Allen (Defiance, All My Children) será recurrente en la segunda temporada de Falling Water sustituyendo a Brooke Bloom en el papel de Sabrine Brighton.

Kimberley Crossman (Shortland Street) será recurrente en SMILF como Kit-Cat, compañera de piso de Nelson (Samara Weaving).

Luka Sabbat será recurrente en Grownish como Luca Hall, un compañero de la universidad.

Miranda Richardson (Harry Potter, Sleepy Hollow), Adria Arjona (True Detective, Emerald City), Michael McKean (Better Call Saul, Clue), Jack Whitehall (Fresh Meat, Decline and Fall), Nina Sosanya (Marcella, W1A), Ned Dennehy (Broken, Peaky Blinders), Ariyon Bakare (Thirteen, New Blood) se unen a Michael Sheen y David Tennant en Good Omens.

Louise Brealey (Sherlock) y Owen Teale (Game of Thrones) se unen a Matthew Goode y Teresa Palmer en A Discovery of Witches. Completan el reparto Edward Bluemel (The Halcyon), Greg McHugh (The A Word, Fresh Meat), Aisling Loftus (War and Peace, Mr. Selfridge), Elarica Johnson (Harry Potter), Aiysha Hart (Atlantis, Line of Duty), Malin Buska, Trevor Eve (Unforgotten, Waking the Dead), Gregg Chillin (Da Vinci's Demons), Dustin Demri-Burns, David Newman, Adam Stevenson, Sadie Shimmin (Mr. Selfridge, Wallander) y Michael Culkin (Poldark, The Crown).

Pósters de series

Nuevas series

Syfy ha dado luz verde a Nightflyers, adaptación de la novela de George R.R. Martin (1980) y la película de 1987 sobre un peligroso y violento viaje espacial hasta el borde de nuestro sistema solar en busca de vida alienígena por una pequeña tripulación formada por un grupo de científicos inadaptados y un poderoso telépata. Adaptación creada por Jeff Buhler, escrita por Dan Cerone (The Mentalist, The Blacklist) y dirigida por Mike Cahill (The Magicians). Netflix finaliza negociaciones para coproducir y distribuir la serie internacionalmente.

Luz verde directa en Showtime a diez episodios de Kidding, comedia protagonizada y producida por Jim Carrey. Trata sobre Jeff, más conocido como Mr. Pickles, el presentador de un programa infantil de televisión. Es un hombre bueno y sabio, con un imperio multimillonario y querido por el público que, cuando su familia empieza a desmoronarse, no encuentra cuentos de hadas, fábulas o marionetas que le ayuden a lidiar con su crisis personal y va perdiendo poco a poco el juicio. Creada y escrita por Dave Holstein (Weeds) y dirigida por Michael Gondry (Eternal Sunshine of the Spotless Mind).

Dentro de The Commanders, la antología anunciada en marzo sobre los momentos más destacados de los mandatos de varios Presidentes de Estados Unidos, History ha dado luz verde a seis episodios de The Breach: Inside the Impeachment of Bill Clinton, basada en el libro 'The Breach: Inside the Impeachment and Trial of William Jefferson Clinton", que empieza con el descubrimiento de su affair con Monica Lewinsky.

Netflix y ABC Australia encargan seis episodios de Pine Gap, thriller político ambientado en estas instalaciones controladas por la CIA y la NSA en suelo australiano. Creada y escrita por Greg Haddrick y Felicity Packard.

Starz encarga Vida, drama latino escrito por Tanya Saracho (Girls, How to Get Away with Murder) antes conocido como Pour Vida sobre Emma y Lyn, dos hermanas de Los Ángeles, descendientes de americanos y mexicanos, muy distintas y distanciadas que se ven forzadas a volver a su antiguo barrio y enfrentarse a su pasado. Protagonizada por Veronica Osorio (Hail, Caesar!, Diego + Valentina) y Melissa Barrera (Club de Cuervos, La Academia).

HBO cierra el acuerdo para emitir Who Fears Death, adaptación de la novela de Nnedi Okorafor (2010) sobre el viaje de una joven del norte de África desde el autorreproche hasta el amor superando obstáculos como controlar los aterradores poderes que crecen en su interior, derrotar a su padre hechicero o convertirse en profeta de un pueblo oprimido. Produce George R.R. Martin. Escribe Selwyn Seyfu Hinds.

Netflix encarga su primera serie original en polaco, todavía sin título. Creada por Joshua Long, dirigida por Agnieszka Holland (Treme, House of Cards) y su hija Kasia Adamik (The Border) y ambientada en 2002, mostrará un mundo alternativo en el que nunca acabó la Guerra Fría y en el que un idealista estudiante de derecho y un investigador caído en desgracia descubren la conspiración que mantiene a Polonia en un estado de represión policial. Sus descubrimientos tienen el poder de empezar una revolución popular.

AMC desarrolla They Can't Kill Us All, adaptación del libro de Wesley Lowrey (2016) que examina cómo décadas de prejuicios racistas en barrios segregados han conducido a brutalidad policial en Ferguson, Cleveland o Baltimore y a la creación de movimientos en busca de igualdad y justicia por la muerte de Michael Brown, Tamir Rice y Freddie Gray. Escribe LaToya Morgan (Turn, Into the Badlands).

Fechas de series

Hit the Road llega a Audience Network el 17 de octubre

La segunda temporada de Haters Back Off se estrena en Netflix el 20 de octubre

La tercera temporada de Gomorra se estrena en Sky Italia el 17 de noviembre

La 2ª parte de la tercera temporada de El Ministerio del Tiempo se estrena el 18 de septiembre

Tráilers de series

TGIT

youtube

Lore

youtube

Jane the Virgin - Temporada 4

youtube

Supernatural - Temporada 13

youtube

Curb Your Enthusiasm - Temporada 9

youtube

The Flash - Temporada 4

youtube

Supergirl - Temporada 3

youtube

Gomorra - Temporada 3

youtube

Fuller House - Temporada 3a

youtube

The Travelers - Temporada 2

youtube

#series tv #television

0 notes

marissa-lp · 8 years ago

Text

Practice In Action Lectures

Rave Culture - Electronic music Complete sensory experience Black swan moments Neoliberalism - capitalist, free market, state Accelerationism - considers the future of capitalism and its effect on society pec culture: alternative culture Crowd mentality Relational aesthetics - set of artistic practices u Temporary autonomous zone Post industrialism - decline of industrialism in Europe Rave culture opened up spaces for people e.g nightclub work Acid house vs brass band No education needed to produce music Sergey Shutov - VJ Set, 1993-1996 Rave Graphics i-D Magazine Smiley - 1963 first seen on a children's programme Heinrich Klüver 1926 - hallucinogenic effects of patterns Spiral tribe Movement? Sense of freedom _______________________________________________________________________ Surrealism Surreal- Bizarre, dreamlike Pure psychic automatism The Uncanny - strange or mysterious _______________________________________________________________________ Light bike scene - Tron - 1982 The Matrix - The Wachowaskis - 1999 Reality is a stimulation The internet map - ruslan enikeev - 2011 Techno - Utopianism in Silicon Valley 'Cyber Space' - exists in a parallel dimension to the real world, controlled by the individual rather than corporations...still valid today? Virtual beauties in Cyberspace 2016 Brutalistwebsites.com , Brutalist Architecture Michael manning Mirrrroring.net Cyberculture & cyber topics Phones, memory, apps attatched to us? Neil Harbisson - First recognised cyborg Ex Machina - Alex Garland - 2015 Channel 4 - Humans Immersive Cyberspace Virtual Reality Avatar Pokemon go - 2016 Hyper Reality - Keiichi Matsuda - 2016 The sims 1 - 2000 Second life - 2003 Portraits - Eva and Franco Mattes Black Mirror - 2011 Cyberspace and dystopian Dystopian - Glitch art Failed memories - 2013 Leap Second - 2012, visual noise Dismaland - little mermaid - 2015 Uncanny Valley - 2015 _______________________________________________________________________ Erasmus + Room P344 The city in ruins Urban decay #uberx on insta #ruinporn Historical context & kitsch ruins The death of Marcus - Lance Blondeel - 1548 Folly - Mock Ruin The jealous wall - Belvedere House - 1740 Fish tank decorations The ruinous effect of urban planning Coin de Reu The street - 1968 - Janet Mendelssohn / Newtown birmingham Demolition of the Pruitt Igoe housing complex St. Louis - 1972 Birmingham Central Library Tillman Meyer - Faje - 2012 Ben Wheatley - High Rise - 2015 La Grande Allen du Chateau de Oiron - Cyprien Gaillard - 2008 Laura Oldfield Ford - Wapping Edgar Martins - 2009 - Ruins of the second gilded age Ruins re-imagined Tacheles Berlin Pressure - Rob Voerman - 2012 Eduardo Paolozzi - 1987 - Michaelangelo's David The rediscovery of discovery - 2011 - Cyprien Gaillardia Leisure Centre Urban disasters Aftermath of hurricane Katrina - 2005 Chernobyl power plant - Ukraine Decayed Detroit - Yves Marchland & Romain Meffre Azeville - 2006 Adam Curtis - 2015 - Dark Forebodings _______________________________________________________________________ Relationship between photographer and subject Formal portrait painting You surf Karsh - Churchill Pedro Meyer - 1978 James Reigel - Melon Hostage - 1991 Photographer & subject work together Andres Serrano - Klansman - 1990 Mixed race photographer Jeffrey A Wolin - Maria Spitzer - Written in memory - 1997 Subjects writes on pics The constructed portrait Patrick Tosani - Braille Jason Salavon - Every Playboy Centre Fold Aziz and Cutcher - Dystopia - 1994 Lawick - PerfectlySuperNatural - Ideolised Tibor Kalman - from the what if series Jiri David - No Compassion Peter Kennard & Cat Picton - 2004-2007 Daniel Lee - Year of the ... Jemima Stelih The Constructed Self Portrait Alexa Wright - I - 1999 - puts herself on disabled people's bodies Masks, projections, facts Arnold Newman - Alford Felix etc - 06/07/1963 Ren Hang _______________________________________________________________________ Idris Khan - Every Page Neue Sachlichkeit - Otto Dix / Carlo Mense August Sander - Face of our time 1929 Nicholas Nixon - The Brown Sisters Facial expressions over the 40 years - relationship with the photographer Thomas Ruff - 1986 Helen Green - Time May Change Me Difference in identity though hair cuts Relationship between identity and photography _______________________________________________________________________

0 notes