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1941-1975

  • 1 CULTURE, LITERATURE, AND LANGUAGE

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       ■ TRAVEL AND TOURIST GUIDES ON PORTUGAL
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       ■. Algarve: A Portrait and Guide. New York: Scribners, 1973.
       ■ HISTORY OF PORTUGAL Ancient and Medieval (2000 BCE-1415 CE)
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       ■. "Portugal's Administrative Elite: Social Origins and Political Attitudes." West European Politics 6 (Jan. 1983): 63-74.
       ■. Portugal's Political Development: A Comparative Approach. Boulder, Colo.: Westview, 1985.
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       ■ Antunes, José Freire. Sá Carneiro: Um Meteoro Nos Anos Setenta. Lisbon, 1982.
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       ■ Bermeo, Nancy Gina. "Worker Management in Industry: Reconciling Representative Government and Industrial Democracy in a Polarized Society." In L. S. Graham and D. L. Wheeler, eds., In Search of Modern Portugal, 181-98. Madison: University of Wisconsin Press, 1983.
       ■. The Revolution within the Revolution: Workers' Control in Rural Portugal. Princeton, N.J.: Princeton University Press, 1986.
       ■ Braeckman, Colette. Portugal: Revolution surveilée. Brussels: Rossei, 1975.
       ■ Braga da Cruz, Manuel. "O Presidente da República na génese e evolução do sistema de governor portugües." Análise social XXIX, 125-26 (1994): 237-65.
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       ■. Politics and Nationhood: Post-Revolutionary Portugal. New York: Praeger, 1984.
       ■. "Portugal Fifteen Years after the April Revolution." Field Staff Reports ( 1989-90/ No. 1, Europe), 3-11. Indianapolis, Ind.: Universities Field Staff International, 1990.
       ■, and Alex Macleod. Politics in Contemporary Portugal: Parties and the Consolidation of Democracy. Boulder, Colo.: Rienner, 1986.
       ■ Carvalho, Ortelo Saraiva de. Cinco Meses Mudaram Portugal. Lisbon, 1975.
       ■. Alvorada em Abril. Lisbon, 1977.
       ■ Cid, Augusto. PREC-Processo Revolucionário Eventualmente Chocante. Viseu, 1977.
       ■ Costa Lobo, Marina, and Pedro C. Magalhaes. "From 'Third Wave' to 'Third Way': Europe and the Portuguese Socialists (1975-1999)," Journal of Southern Europe and the Balkans 3, no. 1 (2001), 25-35.
       ■ Costa Pinto, Antônio, ed. Modern Portugal. Palo Alto, Calif.: SPOSS, 1998.
       ■, and Nuno Severiano Teixeira, eds. Southern Europe and the Making of the European Union. New York: Columbia Univ. Press, 2002.
       ■ Cunhal, Alvaro. A Revolução Portuguesa. Lisbon, 1975.
       ■ Dias, Eduardo Mayone. Portugal's Secret Jews: The End of an Era. Rumford, R.I.: Peregrinação Publications, 1999.
       ■ Downs, Charles. "Comissões de Moradores and Urban Struggles in Revolutionary Portugal." International Journal of Urban and Regional Research 4 (1986): 267-94.
       ■. Revolution at the Grassroots: Community Organizations in the Portuguese Revolution. Albany: State University of New York Press, 1989.
       ■ Dufour, Jean-Marc. Prague sur Tage. Paris, 1975.
       ■ Durão Barroso, José. Le systémepolitiqueportugais face à l'intégration euro-péenne. Lisbon, 1983.
       ■ Eisfeid, Rainer. "Portugal: What Role/What Future?" In K. Maxwell, ed., Portugal Ten Years after the Revolution. New York: RIIC, Columbia University, 1984.
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       ■ Giaccone, Fausto. Una Storia Portoghese/ Uma História Portuguesa. Palermo: Randazzo Focus, 1987.
       ■ Gladdish, Ken. "Portugal: An Open Verdict." In Geoffrey Pridham, ed. Securing Democracy: Political Parties and Democratic Consolidation in Southern Europe, 104-25. London and New York: Routledge, 1990.
       ■ Graham, Lawrence S. The Decline and Collapse of an Authoritarian Order. Beverly Hills, Calif.: Sage, 1975.
       ■, and Harry M. Makler, eds. Contemporary Portugal: The Revolution and Its Antecedents. Austin: University of Texas Press, 1979.
       ■, and Douglas L. Wheeler, eds. In Search of Modern Portugal: The Revolution and Its Consequences. Madison: University of Wisconsin Press, 1983.
       ■ Grayson, George W. "Portugal and the Armed Forces Movement." Orbis XIX, 2 (Summer 1975): 335-78.
       ■ Green, Gil. Portugal's Revolution. New York: International, 1976.
       ■ Hammond, John L. Building Popular Power: Workers' and Neighborhood Movements in the Portuguese Revolution. New York: Monthly Review Press, 1988.
       ■ Harsgor, Michael. Naissance d'un Nouveau Portugal. Paris: Ed. du Seuil, 1975.
       ■. Portugal in Revolution. Washington, D.C.: CSIS and Sage, 1976.
       ■ Harvey, Robert. Portugal, Birth of a Democracy. London: Macmillan, 1978.
       ■ Herr, Richard, ed. Portugal: The Long Road to Democracy and Europe. Berkeley, Calif.: International and Area Studies, 1992.
       ■ Insight Team of the Sunday [London] Times. Insight on Portugal: The Year of the Captains. London: Deutsch, 1975.
       ■ Janitschek, Hans. Mario Soares: Portrait of a Hero. London: Weidenfeld & Nicolson, 1985.
       ■ Keefe, Eugene K., et al. Area Handbook for Portugal, 1st ed. Washington, D.C.: Foreign Area Studies of American University, 1977. Kramer, Jane. "A Reporter at Large: The Portuguese Revolution." The New Yorker (Dec. 15, 1975): 92-131.
       ■ Lauré, Jason, and Ettagal Lauré. Jovem Portugal: After the Revolution. New York: Straus, Farrar and Giroux, 1977.
       ■ Livermore, H. V. A New History of Portugal. Cambridge: Cambridge University Press, 1976.
       ■ Lourenço, Eduardo. Os Militares e O Poder. Lisbon, 1975.
       ■. O Fascismo Nunca Existiu. Lisbon, 1976.
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       ■ Macedo, Jorge Braga de, and S. Serfaty. Portugal since the Revolution: Economic and Political Perspectives. New York: Praeger, 1981.
       ■ Magone, José M. European Portugal: The Difficult Road to Sustainable Democracy. New York: St. Martin's, 1997. Mailer, Phil. Portugal: The Impossible Revolution. London: Solidarity, 1977. Manta, João Abel. Cartoons/ 1969-1975. Lisbon, 1975.
       ■ Manuel, Paul C. Uncertain Outcome: The Politics of Portugal's Transition to Democracy. Lanham, Md. and London: University Press of America, 1994.
       ■ Mateus, Rui. Contos Proibidos. Memorias de Um PS Desconhecido, 3rd ed. Lisbon: Dom Quixote, 1996.
       ■ Maxwell, Kenneth. "Portugal under Pressure." The New York Review of Books (May 2, 1974).
       ■. "The Hidden Revolution in Portugal." The New York Review of Books (April 17, 1975).
       ■. "The Thorns of the Portuguese Revolution." Foreign Affairs 54, 2 (Jan. 1976): 250-70.
       ■. "The Communists and the Portuguese Revolution." Dissent 27, 2 (Spring 1980): 194-206.
       ■. Portugal in the 1980s: Dilemmas of Democratic Consolidation. Westport, Conn.: Greenwood, 1986.
       ■. The Making of Portuguese Democracy. Cambridge: Cambridge University Press, 1995.
       ■, ed. "Portugal: Toward the Twenty-First Century." Camoes Center Quarterly 5, 3-4 (Fall 1995): 6-55.
       ■, ed. The Press and the Rebirth of Iberian Democracy. Westport, Conn.: Greenwood, 1983.
       ■. Portugal Ten Years after the Revolution: Reports of Three Columbia University-Gulbenkian Workshops. New York: Research Institute on International Change, Columbia University, 1984.
       ■ Maxwell, Kenneth, and Michael H. Haltzel, eds. Portugal: Ancient Country, Young Democracy. Washington, D.C.: Wilson Center Press, 1990.
       ■ Medeiros Ferreira, José. Ensaio Histórico sobre a revolução do 25 de Abril. Lisbon, 1983.
       ■ Medina, João, ed. Portugal De Abril: Do 25 Aos Nossos Dias. In Medina, ed., História Contemporãnea De Portugal. Lisbon, 1985. Merten, Peter. Anarchismus ünd Arbeiterkãmpf in Portugal. Hamburg: Libertare, 1981.
       ■ Miranda, Jorge. Constituição e Democracia. Lisbon, 1976.
       ■. A Constituição de 1976. Lisbon, 1978.
       ■ Morrison, Rodney J. Portugal: Revolutionary Change in an Open Economy. Boston: Auburn House, 1981.
       ■ Mujal-Leôn, Eusebio. "The PCP [Portuguese Communist Party] and the Portuguese Revolution." Problems of Communism 26 (Jan.- Feb. 1977): 21-41.
       ■ Neves, Mário. Missão em Moscovo. Lisbon, 1986.
       ■ Oliveira, César. M. F. A. e Revolução Socialista. Lisbon, 1975.
       ■. Os Anos Decisivos: Portugal 1962-1985. Um testemunho. Lisbon: Presença, 1993.
       ■ Opello, Waiter C., Jr. Portugal's Political Development: A Comparative Approach. Boulder, Colo.: Westview, 1985.
       ■. Portugal: From Monarchy to Pluralist Democracy. Boulder, Colo.: Westview, 1991.
       ■ Pell, Senator Claiborne H. Portugal ( Including the Azores and Spain) in Search of New Directions: Report to the Committee on Foreign Relations, U.S. Senate. Washington, D.C.: Government Printing Office, 1976.
       ■ Pereira, J. Pacheco. "A Case of Orthodoxy: The Communist Party of Portugal." In Waller and Fenema, eds., Communist Parties in Western Europe: Adaptation or Decline? Oxford: Basil Blackwell, 1988.
       ■ Pilmott, Ben. "Socialism in Portugal: Was It a Revolution?" Government and Opposition 7 (Summer 1977).
       ■. "Were the Soldiers Revolutionary? The Armed Forces Movement in Portugal, 1973-1976." Iberian Studies 7, 1 (1978): 13-21.
       ■, and Jean Seaton. "Political Power and the Portuguese Media." In L. S. Graham and D. L. Wheeler, eds., In Search of Modern Portugal, 43-57. Madison: University of Wisconsin Press, 1983.
       ■ Porch, Douglas. The Portuguese Armed Forces and the Revolution. London: Croom Helm and Stanford, Calif.: Hoover Institution Press, 1977.
       ■ Pouchin, Dominique. Portugal, quelle révolution? Paris, 1976.
       ■ Pulido Valente, Vasco. "E Viva Otelo." In Pulido Valente, V., ed., O País das Maravilhas, 451-54. Lisbon, 1979 [anthology of articles from weekly Lisbon paper, Expresso].
       ■. Estudos Sobre a Crise Nacional. Lisbon, 1980.
       ■ Rebelo de Sousa, Marcelo. O Sistema de Governo Português antes e depois da Revisão Constitucional, 3rd ed. Lisbon, 1981. Rêgo, Raúl. Militares, Clérigos e Paisanos. Lisbon, 1981. Robinson, Richard A. H. Contemporary Portugal: A History. London: Allen & Unwin, 1979.
       ■ Rodrigues, Avelino, Cesário Borga, and Mário Cardoso. O Movemento dos Capitães e o 25 de Abril. Lisbon, 1974.
       ■. Portugal Depois De Abril. Lisbon, 1976.
       ■ Ruas, H. B., ed. A Revolução das Flores. Lisbon, 1975.
       ■ Rudel, Christian. La Liberte couleur d'oeillet. Paris: Fayard, 1980.
       ■ Sa, Tiago Moreira de. Os Americanos na Revolucao Portuguesa ( 1974-1976). Lisbon: Edit. Noticias, 2004.
       ■ Sá Carneiro, Francisco. Por Uma Social-Democracia Portuguesa. Lisbon, 1975.
       ■ Sanches Osôrio, Helena. Um Só Rosto. Uma Só Fé. Conversas Com Adelino Da Palma Carlos. Lisbon, 1988. Sanches Osôrio, J. The Betrayal of the 25th of April in Portugal. Madrid: Sedmay, 1975.
       ■ Schmitter, Philippe C. "Liberation by Golpe: Retrospective Thoughts on the Demise of Authoritarian Rule in Portugal." Armed Forces and Society 2 (1974): 5-33.
       ■. "An Introduction to Southern European Transitions from Authoritarian Rule: Italy, Greece, Portugal, Spain and Turkey." In G. O'Donnell,
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       ■ Silva, Fernando Dioga da. "Uma Administração Envelhecido." Revista da Ad-ministraçao Pública 2 (Oct.-Dec. 1979).
       ■ Simões, Martinho, ed. Relatório Do 25 De Novembro: Texto Integral, 2 vols. Lisbon, 1976.
       ■ Soares, Isabel, ed. Mário Soares: O homem e o político. Lisbon, 1976. Soares, Mário. Democratização e Descolonização: Dez meses no Governo Provisório. Lisbon, 1975. Sobel, Lester A., ed. Portuguese Revolution, 1974-1976. New York: Facts on File, Inc., 1976.
       ■ Spínola, Antônio de. Portugal e o Futuro. Lisbon, 1974.
       ■ Stock, Maria José. Os Partidos do Poder: Dez Anos Depois do " 25 De Abril." Evora, 1986.
       ■ Story, Jonathan. "Portugal's Revolution of Carnations: Patterns of Change and Continuity." International Affairs 52 (July 1976): 417-34. Sweezey, Paul. "Class Struggles in Portugal." Monthly Review 27, 4 (Sept. 1975): 1-26.
       ■ Szulc, Tad. "Lisbon and Washington: Behind Portugal's Revolution." Foreign Policy 21 (Winter 1975-76): 3-62. Tavares de Almeida, Antônio. Balsemão: O retrato. Lisbon, 1981. "Vasco." Desenhos Políticos. Lisbon, 1974.
       ■ Vasconcelos, Alvaro. "Portugal in Atlantic-Mediterranean Security." In Douglas T. Stuart, ed., Politics and Security in the Southern Region of the Atlantic Alliance, 117-36. London: Macmillan, 1988.
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       ■ Wiarda, Howard J. Transcending Corporatism? The Portuguese Corporative System and the Revolution of 1974. Columbia: Institute of International Studies, University of South Carolina, 1976.
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       ■ PHYSICAL FEATURES: GEOGRAPHY, GEOLOGY, FAUNA, AND FLORA
       ■ Birot, Pierre. Le Portugal: Étude de géographie régionale. Paris, 1950.
       ■ Embleton, Clifford. Geomorphology of Europe. London: Macmillan, 1984.
       ■ Girão, Aristides de Amorim. Divisão regional, divisão agrícola e divisão administrativa. Coimbra, 1932.
       ■. Atlas de Portugal, 2nd ed. Coimbra, 1958.
       ■ Ribeiro, Orlando. Portugal, O Mediterrâneo e o Altântico. Coimbra, 1945 and later eds.
       ■. Portugal. Volume V of Geografia de Espana y Portugal. Barcelona, 1955.
       ■. Ensaios de Geografia Humana e regio nal. Lisbon, 1970.
       ■ Stanislawski, Dan. The Individuality of Portugal. Austin: The University of Texas Press, 1959.
       ■. Portugal's Other Kingdom: The Algarve. Austin: University of Texas Press, 1963.
       ■ Taylor, Albert William. Wild Flowers of Spain and Portugal. London: Chatto & Windus, 1972.
       ■ Way, Ruth, and Margaret Simmons. A Geography of Spain and Portugal. London: Methuen, 1962.
       ■ ARCHAEOLOGY AND PREHISTORY
       ■ "Actas do Colóquio Inter-Universitário do Noroeste Peninsular (Porto-Baião, 1988), vol. II, Proto-História, romanização e Idade Média." In Trabalhos de antropologia e etnologia. 28, 3-4 (1988).
       ■ Alarcão, Jorge de, ed. "Do Paleolítico va arte visigótica." Vol. 1, História da
       ■ Arte em Portugal. Lisbon: Alfa, 1986.
       ■. Roman Portugal, 3 vols. Warminister, U.K.: Aris & Phillips, 1988.
       ■. Portugal Das Orígens A Romanização. Vol. I. In J. Serrão and A. H. de Oliveira Marques, eds. Nova História de Portugal. Lisbon: Presença, 1990. Anderson, James M., and M. S. Lea. Portugal 1001 Sights: An Archaeological and Historical Guide. Calgary, Alberta: University of Calgary and Robert Hale, 1994.
       ■ Balmuth, Miriam S., Antonio Gilman, and Lourdes Prados-Torreira, eds. Encounters and Transformations: The Archaeology of Iberia in Transition. Monographs in Mediterranean Archaeology, no. 7. Sheffield, U.K.: Sheffield Academic Press, 1997.
       ■ Beirão, C. M. M. Une civilization protohistorique du Sud au Portugal ( 1er Age du Fer). Paris: D. Boccard, 1986.
       ■ Cardoso, João Luís, Santinho A. Cunha, and Delberto Aguiar. O Homem Pre-Histórico no Concelho de Oeiras. Oeiras, Portugal: Estudos Arquelógicos de Oeiras, 1991.
       ■ Harrison, Richard J. The Bell Beaker Cultures of Spain and Portugal. Cambridge, Mass.: Harvard University Press, 1977.
       ■ Mangas, Júlio, ed. Hispania epigraphica. Madrid, 1989.
       ■ Maloney, Stephanie J. "The Villa of Toerre de Palma, Portugal: Archaeology and Preservation." Portuguese Studies Review VIII, 1 (Fall-Winter, 1999-2000): 14-28.
       ■ Savory, H. N. Spain and Portugal: The Prehistory of the Iberian Peninsula. London, 1968.
       ■ Silva, A. C. F. A cultura castreja no Noroeste de Portugal. Paços de Ferreira:
       ■ Museu da Citânia de Sanfins, 1986. Straus, L. G. Iberia before the Iberians. Albuquerque, N.M., 1992.
       ■ FOREIGN TRAVELERS AND RESIDENTS' ACCOUNTS
       ■ Andersen, Hans Christian. A Visit to Portugal 1866. London: Peter Owen, 1972.
       ■ Beckford, William. Italy, with Sketches of Spain and Portugal. Paris: Baudry's European Library, 1834.
       ■ Boyd Alexander, ed. London: Hart-Davies, 1954.
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       ■ Bell, Aubrey F. G. In Portugal. London: Bodley Head, 1912.
       ■ Borrow, George. The Bible in Spain, 2 vols. London: Constable, 1923 ed.
       ■ Chaves, Castelo Branco. Os livros de viagens em Portugal no século XVIII e a sua projecção europeia. Lisbon, 1977.
       ■ Costigan, Arthur William. Sketches of Society and Manners in Portugal. London: T. Vernon, 1787.
       ■ Crawfurd, Oswald. Portugal Old and New. London: Kegan, Paul, 1880.
       ■. Round the Calendar in Portugal. London: Chapman & Hall, 1890.
       ■ Darymple, William. Travels through Spain and Portugal in 1774. London: J. Almon, 1777.
       ■ Dumouriez, Charles Francois Duperrier. An Account of Portugal as It Appeared in 1766. London: C. Law, 1797.
       ■ Fielding, Henry. Jonathan Wild and the Journal of a Voyage to Lisbon. London: J. M. Dent, 1932.
       ■ Fullerton, Alice. To Portugal for Pleasure. London: Grafton, 1945.
       ■ Gibbons, John. I Gathered No Moss. London: Robert Hale, 1939.
       ■ Gordon, Jan, and Cora Gordon. Portuguese Somersault. London: Harrap, 1934.
       ■ Hewitt, Richard. A Cottage in Portugal. New York: Simon & Schuster, 1996.
       ■ Huggett, Frank. South of Lisbon: Winter Travels in Southern Portugal. London: Gollancz, 1960.
       ■ Hume, Martin. Through Portugal. London: Richards, 1907.
       ■ Hyland, Paul. Backwards Out of the Big World: A Voyage into Portugal. Hammersmith, U.K.: HarperCollins, 1996.
       ■ Jackson, Catherine Charlotte, Lady. Fair Lusitania. London: Bentley, 1874.
       ■ Kelly, Marie Node. This Delicious Land Portugal. London: Hutchinson, 1956.
       ■ Kempner, Mary Jean. Invitation to Portugal. New York: Athenaeum, 1969.
       ■ Kingston, William H. G. Lusitanian Sketches of the Pen and Pencil. 2 vol. London: Parker, 1845.
       ■ Landmann, George. Historical, Military and Picturesque Observations on Portugal. 2 vol. London: Cadell and Davies, 1818.
       ■ Latouche, John [Pseudonym of Oswald Crawfurd]. Travels in Portugal. London: Ward, Lock & Taylor, ca. 1874.
       ■ Link, Henry Frederick. Travels in Portugal and France and Spain. London: Longman & Rees, 1801.
       ■ Macauley, Rose. They Went to Portugal. London: Jonathan Cape, 1946.
       ■. They Went to Portugal, Too. Manchester: Carcanet Books, 1990.
       ■ Merle, Iris. Portuguese Panorama. London: Ouzel, 1958.
       ■ Murphy, J. C. Travels in Portugal. London: 1795.
       ■ Proper, Datus C. The Last Old Place: A Search through Portugal. New York: Simon & Schuster, 1992.
       ■ Quillinan, Dorothy [Wordsworth]. Journal of a Few Months in Portugal with Glimpses of the South of Spain. 2 vol. London: Moxon, 1847. Sitwell, Sacheverell. Portugal and Madeira. London: Batsford, 1954. Smith, Karine R. Until Tomorrow: Azores and Portugal. Snohomish, Wash.: Snohomish Publishing, 1978. Southey, Robert. Journals of a Residence in Portugal, 1800-1801 and a Visit to France, 1838. London and New York: Oxford Univ. Press, 1912. Thomas, Gordon Kent. Lord Byron's Iberian Pilgrimage. Provo, Utah: Brigham Young University Press, 1983. Twiss, Richard. Travels through Portugal and Spain in 1772-1773. London, 1775.
       ■ Watson, Gilbert. Sunshine and Sentiment in Portugal. London: Arnold, 1904. Wheeler, Douglas L. "A[n American] Fulbrighter in Lisbon, Portugal, 196162." Portuguese Studies Review 1 (1991): 9-16.
       ■ PORTUGUESE CARTOGRAPHY, DISCOVERIES, AND NAVIGATION
       ■ Albuquerque, Luís de. Curso de História de Naútica. Coimbra, 1972.
       ■. Introdução a história dos descobrimentos, 3rd ed. Mem Martins, 1983.
       ■. Os Descobrimentos Portugueses. Lisbon: Alfa, 1983.
       ■. Os Descobrimentos Portugueses. Lisbon, 1985.
       ■ Boorstin, Daniel. The Discoverers. New York: Random House, 1983. Boxer, C. R. The Portuguese Seaborne Empire, 1415-1825. London: Hutchinson, 1969.
       ■ Brazão, Eduardo. La découverte de Terre-Neuve. Montreal: Les Presses de l'Université, 1964.
       ■. "Les Corte-Real et le Nouveau Monde." Revue d'histoire d'Amérique Française 19, 1 (1965): 335-49. Cortesão, Armando, and Avelino Teixeira de Mota. Cartografia Portuguesa Antiga. Lisbon, 1960.
       ■. Portugalia Monumenta Cartográfica, 6 vols. Lisbon, 1960-62.
       ■. História da Cartografia Portuguesa, 2 vols. Coimbra, 1969-70.
       ■ Cortesão, Jaime. L'expansion des portugais dans l'historie de la civilisation. Brussels, 1930.
       ■. Os descobrimentos portugueses, 2 vols. V. Magalhães Godinho and Joel Serrão, eds. Lisbon, 1960.
       ■ Costa, Abel Fontoura da. A Marinharia dos Descobrimentos, 3rd ed. Lisbon, 1960.
       ■ Costa Brochado, Idalino F. Descobrimento do Atlântico. Lisbon, 1958. English ed., 1959-60.
       ■ Coutinho, Admiral Gago. A naútica dos descobrimentos, 2 vols. Lisbon, 1951-52.
       ■ Crone, G. R. Maps and Their Makers. New York: Capricorn Books, 1966.
       ■ Dias, José S. da Silva. Os descobrimentos e a problemática cultural do Século XVI, 2nd ed. Lisbon, 1982.
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       ■ Queirós, José. Cerâmica Portuguesa, 2 vols. 2nd rev. ed. Lisbon, 1948.
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       ■ Santos, Reinaldo dos. A Escultura em Portugal, 2 vols. Lisbon, 1948-50.
       ■. História da Arte em Portugal. Oporto, 1953.
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       ■ Chaves, Luis. Os Barristas Portugueses. Coimbra, 1925.
       ■. Natal Portugues. Oporto: Liv. Classica Editora, 1942.
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       ■ Lima, Henrique de Campos F. Joaquim Machado de Castro, Escultor Conimbricense. Coimbra: Instituto de Historia de Arte, 1989. Macedo, Diogo de. Presepios Portugueses. Lisbon: Artis, 1951.
       ■. Machado de Castro. Lisbon: Artis, 1958.
       ■ Morais, Heitor. Natal do Meu Coracao. Braga: Ed. A.O., 1991.
       ■ Pais, Alexandre Nobre. Presepios Portugueses Monumentos do Seculo XVIII em Terracotta, 2 vols. Master's thesis in history of art, Universidade Nova de Lisboa, 1998.
       ■ Queiros, Jose. Ceramica Portuguesa. Lisbon: Presenca, 1998. Santos, Reinaldo dos. A Escultura em Portugal. Lisbon: Bertrand, 1951. Serrao, Vitor. Historia da Arte em Portugal IV-O Barroco. Lisbon: Presenca, 2003.
       ■ Smith, Robert C. The Art Of Portugal 1500-1800. New York: Meredith Press, 1968.
       ■ Sousa, Ernesto de. Presepios. Lisbon: Bertrand, 1998.
       ■ Cinema
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       ■ Pina, Luis de. Aventura do Cinema Portugues. Lisbon: Vega, 1977.
       ■. Documentarismo Portugues. Lisbon: IPC, 1977.
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       ■. Historia do Cinema Portugues. Mem Martins: Europa-America, 1986.
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       ■. Panorama do Cinema Portugues. Lisbon: n.d.
       ■ Andresen, Sofia de Melo Breyner. A Fada Oriana. 9th ed. Lisbon: Figueiri-nhas, 1985.
       ■ Araújo, Matilde Rosa. A estrada fascinante. Lisbon: Livros Horizonte, 1988. Barreto, Garcia. Literatura Para Crianças E Jovens Em Portugal. Oporto:
       ■ Campo Das Letras, 1998. Bastos, Glória. A escrita para crianças em Portugal no seculo XIX. Lisbon:
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       ■ Gomes, Alice. A Nau Catrineta, 2nd ed. Lisbon: Portugália, 1973.
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       ■ Letria, José Jorge. Do sentimento mágico da vida. Lisbon: Escritor, 1994. Müller, Adolfo Simões. Historiazinha de Portugal, 6th ed. Oporto: Tavares Martins, 1983.
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       ■ Pires, Maria Laura Bettencourt. História da literatura infantil portuguesa. Lisbon: Vega, 1981. Ribeiro, Aquilino. Arca de Noé-III Classe. Lisbon, 1989. Rocha, Natércia. Breve História da Literatura para Crianças em Portugal. Lisbon: Instituto de Cultura e Língua Portuguesa, 1984.
       ■. Bibliografia geral da literatura portuguesa para crianças. Lisbon: Edit. Comunicação, 1987.
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       ■ Lisbon, Capital City, in History and Literature
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       ■ Neves, Orlando. Lisboa em Crónica. Lisbon: Author's Ed., 1968.
       ■ Pavão, Luís, and Mário Pereira. Tabernas de Lisboa. Lisbon: Assírio & Alvim, 1981.
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       ■ Literature in English Translation: Selection
       ■ Alcaforado, Mariana. The Letters of a Portuguese Nun ( Mariana Alcaforado). Edgar Prestage, trans. London: D. Nutt, 1893.
       ■ Andrade, Eugénio de. "White on White." Alexis Levitin, trans. Quarterly Review of Literature. Poetry Series VIII. Vol. 27. Princeton, N.J., 1987.
       ■. Another Name for Earth; O outro nome da terra. Alexis Levitin, trans. Ft. Bragg, Calif.: QED Press, 1997.
       ■ Andresen, Sophia de Mello Breyner. Marine Rose: Selected Poems. Ruth Fain-light, trans. Redding Ridge, Conn.: Swan Books, 1989.
       ■ Antunes, António Lobo. South of Nowhere. Elizabeth Lowe, trans. New York: Random House, 1983.
       ■. Fado Alexandrino. Gregory Rabassa, trans. New York: Grove Weidenfeld, 1990.
       ■. An Explanation of the Birds. Richard Zenith, trans. New York: Grove Weidenfeld, 1991.
       ■. Act of the Damned. New York: Grove Press, 1995.
       ■. The Natural Order of Things. New York: Grove Press, 2000.
       ■ Barreno, Maria Isabel, Maria Teresa Horta, and Maria Velho da Costa. The Three Marias: New Portuguese Letters. Helen R. Lane, trans. New York: Doubleday, 1975.
       ■ Bell, Aubrey F. G. Poems from the Portuguese ( with the Portuguese text). A.
       ■ Bell, trans. Oxford: Blackwell, 1913.
       ■ Camões, Luís de. The Lusiads of Luís de Camões. Leonard Bacon, trans. New York: Hispanic Society of America, 1950.
       ■. The Lusiads. William C. Atkinson, trans. Harmondsworth, U.K.: Penguin, 1952.
       ■. The Lusiads. Landeg White, trans. New York: Oxford University Press, 1997.
       ■ Castelo Branco, Camilo. Doomed Love ( A Family Memoir). Alice R. Clemente, trans Providence, R.I.: Gávea-Brown, 1995. Castro, José Maria Ferreira de. Emigrants. Dorothy Ball, trans. New York: Macmillan, 1962.
       ■. Jungle. Charles Duff, trans. New York: Viking, 1935.
       ■. The Mission. Ann Stevens, trans. London: Hamilton, 1963.
       ■ Dantas, Júlio. The Cardinals' Collation, 48th ed. A. Saintsbury, trans. London, 1962.
       ■ Dias de Melo. Dark Stones. Gregory McNab, trans. Providence, R.I.: Gávea-Brown, 1996.
       ■ Dinis, Júlio. The Fidalgos of Casa Mourisca. Rosanna Dabney, trans. Boston: D. Lothrop, 1891.
       ■ Garrett, Almeida. Brother Luiz de Sousa [play]. Edgar Prestage, trans. London: Elkin Mathess, 1909.
       ■. Travels in My Homeland. John M. Parker, trans. London: Peter Owen and UNESCO, 1987. Griffin, Jonathan. Camões: Some Poems Translated from the Portuguese by Jonathan Griffin. London: Menard Press, 1976. Jorge, Lídia. The Murmuring Coast. Minneapolis: University of Minnesota Press, 1995.
       ■ Lisboa, Eugénio, ed. Portuguese Short Fiction. Manchester, U.K.: Carcanet, 1997.
       ■ Lopes, Fernão. The English in Portugal 1367-87: Extracts from the Chronicles of Dom Fernando and Dom João. Derek W. Lomax and R. J. Oakley, eds. and trans. Warminster, U.K.: Aris & Phillips, 1988.
       ■ Macedo, Helder, ed. Contemporary Portuguese Poetry: An Anthology in English. Helder Macedo, et al., trans. Manchester, U.K.: Carcanet New Press, 1978.
       ■ Martins, J. P. De Oliveira. A History of Iberian Civilization. Aubrey F. G. Bell, trans.; preface by Salvador de Madariaga. New York: Cooper Square, 1969.
       ■ Mendes Pinto, Fernão. The Travels of Mendes Pinto [Orig. title: Peregrinação].
       ■ Rebecca D. Catz, trans., with introduction and notes. Chicago: University of Chicago Press, 1989. Miguéis, José Rodrigues. A Man Smiles at Death with Half a Face. George
       ■ Monteiro, trans. Hanover, N.H.: University Press of New England, 1991.
       ■. Happy Easter. John Byrne, trans. Manchester, U.K.: Carcanet, 1995.
       ■. Steerage and Ten Other Stories. George Monteiro, ed. Providence, R.I.: Gávea-Brown, 1998. Monteiro, Luís De Sttau. The Rules of the Game. Ann Stevens, trans. London: Hamilton, 1965.
       ■ Mourão-Ferreira, David. Lucky in Love. Christine Robinson, trans. Manchester, U.K.: Carcanet, 1999. Namora, Fernando. Field of Fate. Dorothy Ball, trans. London: Macmillan, 1970.
       ■. Mountain Doctor. Dorothy Ball, trans. London: Macmillan, 1956.
       ■ Nemésio, Vitorino. Inclement Weather over the Channel. Francisco Cota Fagundes, trans. Providence, R.I.: Gávea-Brown, 1993.
       ■. Stormy Isles: An Azorean Tale. Francisco C. Fagundes, trans. Providence, R.I.: Gávea-Brown, 2000.
       ■ Paço D'Arcos, Joaquim. Memoirs of a Banknote. Robert Lyle, trans. London, 1968.
       ■ Pedroso, Consiglieri, comp. Portuguese Folk-Tales. Henriqueta Monteiro, trans. Reprint of orig. 1882 ed. New York: Benjamin Blom, 1969.
       ■ Pessoa, Fernando. Fernando Pessoa: Sixty Portuguese Poems. F. E. G. Quintanilha, ed. and trans. Cardiff: University of Wales Press, 1971.
       ■. Selected Poems: Fernando Pessoa. 2nd rev. ed. Jonathan Griffin, trans. Harmondsworth, U.K.: Penguin, 1982.
       ■. The Book of Disquiet. Alfred MacAdams, trans. New York: Pantheon, 1991.
       ■. Fernando Pessoa: Selected Poems. Peter Rickard, ed. and trans. Edinburgh, U.K.: Edinburgh University Press, 1991.
       ■. "The Mariner: A 'Static Drama' in One Act." In Translation: Portugal.
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       ■. Message: Bilingual Edition. Jonathan Griffin, trans. London: Menard Press and King's College, 1992.
       ■ Pires, José Cardoso. Ballad of a Dog's Beach. Mary Fitton, trans. London: J. M. Dent, 1986.
       ■ Queirós, José Maria Eça de. Cousin Bazilio. Roy Campbell, trans. London: Max Reinhardt, 1953.
       ■. The Relic. Aubrey F. G. Bell, trans. London: Max Reinhardt, 1954.
       ■. The City and the Mountains. Roy Campbell, trans. London: Max Reinhardt, 1955.
       ■. The Sin of Father Amaro. Nan Flanagan, trans. London: Max Reinhardt, 1962.
       ■. The Maias. Patricia McGowan Pinheiro, trans. London: Bodley Head, 1965.
       ■. The Illustrious House of Ramires. Ann Stevens, trans. London: Bodley Head, 1968.
       ■. Letters from England. Ann Stevens, trans. London: Bodley Head, 1970.
       ■. To the Capital. John Vetch, trans. Manchester, U.K.: Carcanet, 1995.
       ■ Quental, Antero de. Sixty-four Sonnets. Edgar Prestage, trans. London: David Nutt, 1894.
       ■ Redol, Alves. The Man with Seven Names. L. L. Barrett, trans. New York: Knopf, 1964.
       ■ Resende, André de. André deResende's 'Poema Latina'/ 'Latinpoems.' J. C. R. Martyn, ed. and trans. Lewiston N.Y.: Lampeter and Edwin Mellen, 1998. Ribeiro, Aquilino. When the Wolves Howl. Patricia McGowan Pinheiro, trans. New York: Macmillan; London: Cape, 1963. Sá Carneiro, Mário de. The Great Shadow ( and Other Stories). Margaret Jull Costa, trans. Sawtry, U.K.: Dedalus, 1996. Santareno, Bernardo. The Promise. Nelson H. Vieira, trans. Providence, R.I.: Gávea-Brown, 1981.
       ■ Saramago, José. Baltasar and Blimunda. Giovanni Pontiero, trans. New York: Harcourt, Brace, 1987.
       ■. The Stone Raft. Giovanni Pontiero, trans. New York: Harcourt, Brace, 1991.
       ■. The Year of the Death of Ricardo Reis. Giovanni Pontiero, trans. New York: Harcourt, Brace, 1991.
       ■. The History of the Siege of Lisbon. Giovanni Pontiero, trans. New York: Harcourt Brace, 1996.
       ■. Blindness. New York: Harcourt, Brace, 1999.
       ■. Tale of the Unknown Island. New York: Harcourt Brace, 2000.
       ■. All the Names. Margaret Jull Costa, trans. New York: Harcourt, 2000.
       ■. Journey to Portugal. New York: Harcourt Brace, 2001.
       ■ Sena, Jorge de. The Poetry of Jorge de Sena: A Bilingual Selection. Frederick G. Williams et al., trans. Santa Barbara, Calif.: Mudborn Press, 1980.
       ■. By the Rivers of Babylon and Other Stories. New Brunswick, N.J.: Rutgers University Press, 1989.
       ■ Vicente, Gil. Four Plays of Gil Vicente: Edited from the Editio Princeps ( 1562). Aubrey F. G. Bell, ed. and trans. Cambridge: Cambridge University Press, 1920.
       ■. Lyrics of Gil Vicente. Aubrey F. G. Bell, trans. Oxford: Oxford University Press, Hispanic Notes and Monographs, Portuguese Series 1, 1921.
       ■. The Play of Rubena. Jack E. Tomlins, trans.; Rene P. Garay and José I. Suarez, eds. New York: National Hispanic Foundation for Humanities, 1993.
       ■. The Boat Plays. David Johnston, trans. and adaptation. London: Oberon, 1996.
       ■. Three Discovery Plays. Anthony Lappin, trans. Warminster, U.K.: Aris & Phillips, 1997.
       ■ Vieira, António. Dust Thou Art. Rev. W. Anderson, trans. London, 1882.
       ■ Portuguese and Portuguese-American Cooking: Cuisine
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       ■ ———. "João de Barros." In Serrao, ed., Dicionário de História de Portugal 1 (1963): 307-8.
       ■ Veiga-Pires, J. A., and Ronald G. Grainger, eds. Pioneers in Angiography: The Portuguese School ofAngiography. Lancaster, U.K.: MTP Press, 1982.
       ■ Walker, Timothy. "Doctors, Folk Medicine and the Inquisition: The Repression of Popular Healing in Portugal during the Enlightenment Era." Ph.D. dissertation, History Department, Boston University, 2001.
       ■ Barbosa, Madelena. "Women in Portugal." Women's Studies International Quarterly 4 (1981): 477-80.
       ■ Barreno, Maria Isabel, Maria Teresa Horta, and Maria Velho da Costa. Novas Cartas Portuguesas. Lisbon, 1972.
       ■ ———. The Three Marias. New Portuguese Letters. Helen R. Lane, trans. New York: Doubleday, 1975.
       ■ Brettell, Caroline B. We Have Already Cried Many Tears: The Stories of Three Portuguese Migrant Women. Cambridge, Mass.: Schenkman, 1982.
       ■ Ferreira, Virginia. "Engendering Portugal: Social Change, State Politics, and Women's Social Mobilization." In António Costa Pinto, ed., Modern Portugal, 162-88. Palo Alto, Calif.: SPOSS, 1998.
       ■ Goodwin, Mary. "Portuguese Feminism." Portuguese Studies Newsletter 17 (Spring-Summer 1987): 12-13.
       ■ Lamas, Maria. As Mulheres do Meu País. Lisbon, 1948.
       ■ "Mulheres Portuguesas e Feminismo." Análise Social [special number on Portuguese Women and Feminism] 22 (1986): 92-93.
       ■ Osório, Ana de Castro. As Mulheres Portuguesas. Lisbon, 1905.
       ■ Sadlier, Darlene J. The Question of How: Women Writers and New Portuguese Literature. Westport, Conn.: Greenwood; Contributions in Women's Studies, no. 109, 1989.
       ■ Silva, Manuela. The Employment of Women in Portugal. Luxembourg: Office for Official Publications, European Communities, 1984. Velho da Costa, Maria. Maina Mendes. Lisbon, 1974.
       ■ Vicente, Ana, and Maria Reynolds de Souza. Family Planning in Portugal. Lisbon, 1984.
       ■ Almeida, Fortunato de. História da Igreja em Portugal. 6 vols. Coimbra, 1910-24, and Oporto, 1967-72. Alonso, Joaquim Maria. The Secret of Fátima: Fact and Legend. Cambridge, Mass.: Ravengate Press, 1979. Alves, José da Felicidade, ed. Católicos e política de Humberto Delgado à Marcelo Caetano. Lisbon, 1969. Araújo, Miguel de, ed. Dicionario político; 1; Os Bispos e a revoluçao de Abril. Lisbon, 1976. Bishko, Charles Julian. Spanish and Portuguese Monastic History 600-1300. London, Variorum Reprints, 1984.
       ■ Blanshard, Paul. Freedom and Catholic Power in Spain and Portugal. Boston: Beacon Press, 1962.
       ■ Boxer, C. R. The Church Militant and Iberian Expansion 1440-1770. Baltimore, Md.: Johns Hopkins University Press, 1978. Bruneau, Thomas C. "Church and State in Portugal: Crises of Cross and Sword." Journal of Church and State XVIII (1976): 463-90. Freire, José Geraldes. Resistência Católico ao Salazarismo-Marcelismo. Oporto, 1976.
       ■ Herculano, Alexandre. History of the Origin and Establishment of the Inquisition in Portugal. John C. Banner, trans. Stanford, Calif.: Stanford University Press, 1962.
       ■ IPOPE. Estudo sobre liberdade e religião em Portugal. Lisbon, 1973. Johnston, Francis. Fátima: The Great Sign. Chulmleigh, U.K.: Augustine Publications, 1980.
       ■ Kondor, Fr. Louis. Fátima in Lucia's Own Words: Sister Lucia's Memoirs. Fatima: Postulation Center, 1976. Lourenço, Joaquim Maria. Situação jurídica da Igreja em Portugal. Coimbra, 1943.
       ■ Mattoso, José. Religião e Cultura na Idade Média Portuguesa. Lisbon, 1982. Miller, Samuel J. Portugal and Rome c. 1748-1830: An Aspect of Catholic Enlightenment. Rome: Universita Gregoriana Editrice, 1978. O'Malley, John W. The First Jesuits. Cambridge, Mass.: Harvard University Press, 1993.
       ■ Pattee, Richard. Portugal and the Portuguese World. Milwaukee, Wisc.: Bruce, 1957.
       ■ Prestage, Edgar. Portugal: A Pioneer of Christianity. Lisbon, 1945.
       ■ Richard, Robert. Etudes sur l'histoire morale et religieuse de Portugal. Paris: Centro Cultural de Gulbenkian, 1970.
       ■ Robinson, Richard A. H. "The Religious Question and Catholic Revival in Portugal, 1900-1930." Journal of Contemporary History XII (1977): 345-62.
       ■. Contemporary Portugal: A History. London: Allen & Unwin, 1979.
       ■ Rodrigues, R. P. Francisco. História da Companhia de Jesus na Assistência de Portugal, 7 vols. Lisbon, 1931-50.
       ■ Roth, Cecil. A History of the Marranos. Philadelphia: Jewish Publication Society of America, 1932.
       ■ Agriculture, Viticulture, and Fishing
       ■ Abreu-Ferreira, Darlene. "The Portuguese in Newfoundland: Documentary Evidence Examined." Portuguese Studies Review 4, 1 (1995-96): 11-33.
       ■ Allen, H. Warner. The Wines of Portugal. London: Michael Joseph, 1963.
       ■ Barros, Afonso de. A reforma agrária em Portugal. Oeiras, 1979.
       ■ Beamish, Huldine V. The Hills of Alentejo. London: Geoffrey Bles, 1958.
       ■ Bennett, Norman R. "The Golden Age of the Port Wine System, 1781-1807." The International History Review XII (1990): 221-18.
       ■ Black, Richard. "The Myth of Subsistence: Market Production in the Small Farm Sector of Northern Portugal." Iberian Studies 1, 8 (1989): 25-41.
       ■ Bravo, Pedro, and Duarte de Oliveira. Viticulture Moderna. Lisbon, 1974.
       ■. Vinhas e Vinhos De Portugal. Lisbon, 1979.
       ■ Cabral, Manuel V. "Agrarian Structures and Recent Movements in Portugal." Journal of Peasant Studies 4, 5 (July 1978): 411-45.
       ■ Cardoso, José Carvalho. A Agricultura Portuguesa. Lisbon, 1973.
       ■ Carvalho, Bento de. Guía Dos Vinhos Portugueses. Lisbon, 1982.
       ■ Clarke, Robert. Open Boat Whaling in the Azores: The History and Present Methods of a Relic Industry. Cambridge: Cambridge University Press, 1954.
       ■ Cockburn, Ernest. Port Wine and Oporto. London: Wine & Spirit, 1949. Cole, S. C. "Cod, Cod Country and Family: The Portuguese Newfoundland Fishery." Mast 3, 1 (1990): 1-29.
       ■ Coull, James. The Fisheries of Europe. London: G. Bell & Sons, 1972.
       ■ Croft-Cooke, Rupert. Port. London: Putnam, 1957.
       ■. Madeira. London: Putnam, 1961.
       ■ Delaforce, John. The Factory House at Oporto. London: Christie's Wine Publications, 1979 and later eds.
       ■ Doel, Patricia A. Port O'Call: Memories of the Portuguese White Fleet in St. John's Newfoundland. St. John's, Newfoundland: ISER, 1992.
       ■ Fletcher, Wyndham. Port: An Introduction to Its History and Delights. London: Bernet, 1978.
       ■ Francis, A. D. The Wine Trade. London: Adam and Charles Black, 1972.
       ■ Freitas, Eduardo, João Ferreira de Almeida, and Manuel Villaverde Cabral. Modalidades de penetração do capitalismo na agricultura: estruturas agrárias em Portugal Continental, 1950-1970. Lisbon, 1976.
       ■ Gonçalves, Francisco Esteves. Portugal: A Wine Country. Lisbon, 1984.
       ■ Gulbenkian Foundation. Agrarian Reform. Lisbon, 1981.
       ■ Kurlansky, Mark. Cod: A Biography of the Fish That Changed the World. New York: Walker, 1997.
       ■ Malefakis, Edward. "Two Iberian Land Reforms Compared: Spain, 1931-1936 and Portugal, 1974—1978." In Gulbenkian Foundation, Agrarian Reform. Lisbon, 1981.
       ■ Moreira da Fonseca, A. Port Wine: Notes on Its History, Production and Technology. Oporto, 1981.
       ■ Moutinho, M. História da pesca do bacalhau. Lisbon: Imprensa Universitária, 1985.
       ■ Oliveira Marques, A. H. de. lntrodução a história da agricultura em Portugal.
       ■ Lisbon, 1968. Pato, Octávio. O Vinho. Lisbon, 1971.
       ■ Pearson, Scott R. Portuguese Agriculture in Transition. Ithaca, N.Y.: Cornell University Press, 1987.
       ■ Postgate, Raymond. Portuguese Wine. London: Dent, 1969.
       ■ Read, Jan. The Wines of Portugal. London: Faber & Faber, 1982.
       ■ Robertson, George. Port. London: Faber & Faber, 1982 ed.
       ■ Rutledge, Ian. "Land Reform and the Portuguese Revolution." Journal of Peasant Studies 5, 1 (Oct. 1977): 79-97.
       ■ Sanceau, Elaine. The British Factory at Oporto. Oporto, 1970.
       ■ Simon, Andre L. Port. London: Constable, 1934.
       ■ Simões, J. Os grandes trabalhadores do Mar: Reportagens na Terra Nova e na Groenlândia. Lisbon: Gazeta dos Caminho de Ferro, 1942.
       ■ Smith, Diana. Portugal and the Challenge of 1992: Special Report. New York: Camões Center/RIIC, Columbia University, 1990.
       ■ Stanislawski, Dan. Landscapes of Bacchus: The Vine in Portugal. Austin: University of Texas Press, 1970.
       ■ Teixeira, Carlos, and Victor M. Pereira da Rosa, eds. The Portuguese in Canada: From the Seat to the City. Toronto: University of Toronto Press, 2000.
       ■ Unwin, Tim. "Farmers' Perceptions of Agrarian Change in Northwest Portugal." Journal of Rural Studies 1, 4 (1985): 339-57.
       ■ Valadão do Valle, E. Bacalhau: tradições históricas e económicos. Lisbon, 1991.
       ■ Venables, Bernard. Baleia! The Whalers of Azores. London: Bodley Head, 1968.
       ■ Villiers, Alan. The Quest of the Schooner Argus: A Voyage to the Banks and Greenland. New York: Scribners, 1951. World Bank. Portugal: Agricultural Survey. Washington, D.C.: World Bank, 1978.
       ■ ECONOMY, INDUSTRY, AND DEVELOPMENT
       ■ Aiyer, Srivain, and Shahid A. Chandry. Portugal and the E.E.C.: Employment and Implications. Lisbon, 1979.
       ■ Baklanoff, Eric N. The Economic Transformation of Spain and Portugal. New York: Praeger, 1978.
       ■. "Changing Systems: The Portuguese Revolution and the Public Enterprise Sector." ACES ( Association of Comparative Economic Studies) Bulletin 26 (Summer-Fall 1984): 63-76.
       ■. "Portugal's Political Economy: Old and New." In K. Maxwell and M. Haltzel, eds., Portugal: Ancient Country, Young Democracy, 37-59. Washington, D.C.: Wilson Center Press, 1990.
       ■ Barbosa, Manuel P. Growth, Migration and the Balance of Payments in a Small, Open Economy. New York: Garland, 1984.
       ■ Braga de Macedo, Jorge, and Simon Serfaty, eds. Portugal since the Revolution: Economic and Political Perspectives. Boulder, Colo.: Westview, 1981.
       ■ Carvalho, Camilo, et al. Sabotagem Econômica: " Dossier" Banco Espírito Santo e Comercial de Lisboa. Lisbon, 1975.
       ■ Corkill, David. The Development of the Portuguese Economy: A Case of Euro-peanization. London: Routledge, 1999.
       ■ Cravinho, João. "The Portuguese Economy: Constraints and Opportunities." In K. Maxwell, ed., Portugal in the 1980s, 111-65. Westport, Conn.: Greenwood, 1986.
       ■ Dornsbusch, Rudiger, Richard S. Eckhaus, and Lane Taylor. "Analysis and Projection of Macroeconomic Conditions in Portugal." In L. S. Graham and H. M. Makler, eds., Contemporary Portugal, 299-330. Austin: University of Texas Press, 1979.
       ■ The Economist (London). "On the Edge of Europe: A Survey of Portugal." (June 30, 1981): 3-27.
       ■. "Coming Home: A Survey of Portugal." (May 28, 1988).
       ■. 'The New Iberia: Not Quite Kissing Cousins" [Spain and Portugal]. (May 5, 1990): 21-24.
       ■ Fundação Calouste Gulbenkian and German Marshall Fund of the U.S., eds. II Conferência Internacional sobre e Economia Portuguesa, 2 vols. Lisbon, 1979.
       ■ Hudson, Mark. Portugal to 1993: Investing in a European Future. London: The Economist Intelligence Unit/Special Report No. 11 57/EIU Economic Prospects Series, 1989.
       ■ International Labour Office (ILO). Employment and Basic Needs in Portugal. Geneva: ILO, 1979.
       ■ Kavalsky, Basil, and Surendra Agarwal. Portugal: Current and Prospective Economic Trends. Washington, D.C.: World Bank, 1978.
       ■ Krugman, Paul, and Jorge Braga de Macedo. "The Economic Consequences of the April 25th Revolution." Economia III (1979): 455-83.
       ■ Lewis, John R., and Alan M. Williams. "The Sines Project: Portugal's Growth Centre or White Elephant?" Town Planning Review 56, 3 (1985): 339-66.
       ■ Makler, Harry M. "The Consequences of the Survival and Revival of the Industrial Bourgeoisie." In L. S. Graham and D. L. Wheeler, eds., In Search of Modern Portugal, 251-83. Madison: University of Wisconsin Press, 1983.
       ■ Marques, A. La Politique Economique Portugaise dans la Période de la Dictature ( 1926-1974). Doctoral thesis, 3rd cycle, University of Grenoble, France, 1980.
       ■ Martins, B. Sociedades e grupos em Portugal. Lisbon, 1973.
       ■ Mata, Eugenia, and Nuno Valério. História Econômica De Portugal: Uma Perspectiva Global. Lisbon: Edit. Presença, 1994. Murteira, Mário. "The Present Economic Situation: Its Origins and Prospects." In L. S. Graham and H. M. Makler, eds., Contemporary Portugal, 331-42. Austin: University of Texas Press, 1979. OCED. Economic Survey: Portugal: 1988. Paris: OCED, 1988 [see also this series since 1978].
       ■ Pasquier, Albert. L'Economie du Portugal: Données et Problémes de Son Expansion. Paris: Librarie Generale de Droit, 1961. Pereira da Moura, Francisco. Para onde vai e economia portuguesa? Lisbon, 1973.
       ■ Pintado, V. Xavier. Structure and Growth of the Portuguese Economy. Geneva: EFTA, 1964.
       ■ Pitta e Cunha, Paulo. "Portugal and the European Economic Community." In L. S. Graham and D. L. Wheeler, eds., In Search of Modern Portugal, 321-38. Madison: University of Wisconsin Press, 1983.
       ■. "The Portuguese Economic System and Accession to the European Community." In E. Sousa Ferreira and W. C. Opello, Jr., eds., Conflict and Change in Portugal, 1974-1984, 281-300. Lisbon, 1985. Porto, Manuel. "Portugal: Twenty Years of Change." In Alan Williams, ed., Southern Europe Transformed, 84-112. London: Harper & Row, 1984. Quarterly Economic Review. London: The Economist Intelligence Unit, 1974-present.
       ■ Salgado de Matos, Luís. Investimentos Estrangeiros em Portugal. Lisbon, 1973 and later eds.
       ■ Schmitt, Hans O. Economic Stabilisation and Growth in Portugal. Washington, D.C.: International Monetary Fund, 1981.
       ■ Smith, Diana. Portugal and the Challenge of 1992. New York: Camões Center, RIIC, Columbia University, 1989.
       ■ Tillotson, John. The Portuguese Bank Note Case [ 1920s]: Legal, Economic and Financial Approaches to the Measure of Damages in Contract. Manchester, U.K.: Faculty of Law, University of Manchester, 1992.
       ■ Tovias, Alfred. Foreign Economic Relations of the Economic Community: The Impact of Spain and Portugal. Boulder, Colo.: Rienner, 1990.
       ■ Valério, Nuno. A moeda em Portugal, 1913-1947. Lisbon: Sá da Costa, 1984.
       ■ World Bank. Portugal: Current and Prospective Economic Trends. Washington, D.C.: World Bank, 1978 and to the present.
       ■ PHOTOGRAPHY ON PORTUGAL
       ■ Alves, Afonso Manuel, Antônio Sacchetti, and Moura Machado. Lisboa. Lisbon, 1991.
       ■ Antunes, José. Lisboa do nosso olhar; A look on Lisbon. Lisbon: Câmara Municipal de Lisboa, 1991. Beaton, Cecil. Near East. London: Batsford, 1943.
       ■. Lisboa 1942: Cecil Beaton, Lisbon 1942. Lisbon: British Historical Society of Portugal/Fundação Calouste Gulbenkian, 1995.
       ■ Bottineau, Yves. Portugal. London: Thames & Hudson, 1957.
       ■ Câmara Municipal de Lisboa. 7 Olhares ( Seven Viewpoints). Lisbon: Câmara Municipal de Lisboa, 1998.
       ■ Capital, A. Lisboa: Imagens d'A Capital. Lisbon: Edit. Notícias, 1984.
       ■ Dias, Marina Tavares. Photographias de Lisboa, 1900 ( Photographs of Lisbon, 1900). Lisbon: Quimera, 1991.
       ■ Finlayson, Graham, and Frank Tuohy. Portugal. London: Thames & Hudson, 1970.
       ■ Glassner, Helga. Portugal. Berlin-Zurich: Atlantis-Verlag, 1942. Hopkinson, Amanda, ed. Reflections by Ten Portuguese photographers. Bark-way, U.K.: Frontline/Portugal 600, 1996.
       ■ Lima, Luís Leiria, and Isabel Salema. Lisboa de Pedra e Bronze. Lisbon, 1990.
       ■ Martins, Miguel Gomes. Lisboa ribeirinha ( Riverside Lisbon). Lisbon: Arquivo Municipal, Câmara Municipal de Lisboa, Livros Horizonte, 1994. Vieira, Alice. Esta Lisboa ( This Lisbon). Lisbon: Caminho, 1994. Wohl, Hellmut, and Alice Wohl. Portugal. London: Frederick Muller, 1983.
       ■ EQUESTRIANISM
       ■ Andrade, Manoel Carlos de, Luz da Liberal e Nobre Arte da Cavallaria. Lisbon, 1790.
       ■ Graciosa, Filipe. Escola Portuguesa de Arte Equestre. Lisbon, 2004.
       ■ Horsetalk Magazine. Published in New Zealand.
       ■ Oliveira, Nuno. Reflections on the Equestrian Art. London, 2000.
       ■ Russell, Eleanor, ed. The Truth in the Teaching of Nuno Oliveira. Stanhope,
       ■ Queensland, Australia, 2003. Vilaca, Luis V., and Pedro Yglesias d'Oliveira, eds. LUSITANO. Coudelarias De Portugal. O Cavalo ancestral do Sudoeste da Europa. Lisbon: ICONOM, 2005.
       ■ Websites of interest: www.equestrian.pt portugalweb.com

    Historical dictionary of Portugal > CULTURE, LITERATURE, AND LANGUAGE

  • 2 Freitas do Amaral, Diogo

    (1941-)
       Legal scholar and teacher, jurist, civil servant, and politician. Born in Povoa de Varzim, Freitas do Amaral's father became a member of parliament in the Estado Novo's National Assembly. A superb student, the young Freitas do Amaral studied law at the Law Faculty, University of Lisbon, and became the top law student and protégé of Professor Marcello Caetano, who in 1968 was selected to replace an ailing Antônio de Oliveira Salazar as prime minister. Freitas do Amaral received his doctorate in law in the late 1960s and remained close to his former law professor, who was now prime minister. In his scholarship on the history of Portuguese law, as well as in his political and social ideology as a conservative, Freitas do Amaral in many respects remained a student, protégé, and follower of Caetano through the period of Caetano's premiership (1968-74) and into the era of the Revolution of 25 April 1974. More than 20 years later, Freitas do Amaral published his memoirs, which focused on the 1968-74 political era, O Antigo Regime E A Revolução. Memórias Políticas ( 1941-75). This personal portrait of Caetano's tribulations as a sometimes reluctant, well-prepared but probably inappropriately selected national leader remains an invaluable primary source for historical reconstruction.
       During the early months after the Revolution of 25 April 1974, Freitas do Amaral entered politics and became a founder of the right-wing Christian Democratic Party (CDS). He served as the party's leader to 1985 and again from 1988 to 1991, and was a member of parliament, the Assembly of the Republic, from 1975 to 1983 and from 1992 to 1993. When the Democratic Alliance, of which the CDS was a part, won elections in 1979-80, Freitas do Amaral served as deputy prime minister and minister of defense and, when Francisco de Sá Carneiro died in a mysterious air crash, Freitas do Amaral briefly served as interim prime minister. He was a candidate for the presidency in the 1986 presidential election, although he lost to Mário Soares. In 1995, he served as President of the United Nations General Assembly. As a European federalist who disagreed with the CDS Euroskeptic line followed by Paulo Portas, Freitas do Amaral broke with his party and resigned from it. Although he was usually regarded as a right-winger, Freitas do Amaral backed the Social Democratic Party in the 2002 Assembly of the Republic elections. Disillusioned with the government's policies and critical of its endorsement of the U.S. invasion of Iraq in March 2003, Freitas do Amaral shifted his support to the Socialist Party in the 2005 election. The new prime minister José Sôcrates named Freitas do Amaral minister of foreign affairs in the XVII Constitutional Government, but the senior jurist and politician resigned after a year in office, for health reasons.
       After many years as a law professor at the New University of Lisbon, in 2007, Freitas do Amaral delivered a final public lecture and retired from academia. He is the author of a biography of King Afonso I, a play, and of various legal and juridical studies and is considered the most eminent living scholar in the fields of administrative and constitutional law.

    Historical dictionary of Portugal > Freitas do Amaral, Diogo

  • 3 БИБЛИОГРАФИЯ

    Мы приняли следующие сокращения для наиболее часто упоминаемых книг и журналов:
    IJP - International Journal of Psycho-analysis
    JAPA - Journal of the American Psychoanalytic Association
    SE - Standard Edition of the Complete Psychological Works of Sigmund Freud, ed. James Strachey (London: Hogarth Press and the Institute of Psycho-Analysis, 1953—74.)
    PSOC - Psychoanalytic Study of the Child (New Haven: Yale University Press)
    PQ - Psychoanalytic Quarterly
    WAF - The Writings of Anna Freud, ed. Anna Freud (New York: International Universities Press, 1966—74)
    PMC - Psychoanalysis The Major Concepts ed. Burness E. Moore and Bernard D. Fine (New Haven: Yale University Press)
    \
    О словаре: _about - Psychoanalytic Terms and Concepts
    \
    1. Abend, S. M. Identity. PMC. Forthcoming.
    2. Abend, S. M. (1974) Problems of identity. PQ, 43.
    3. Abend, S. M., Porder, M. S. & Willick, M. S. (1983) Borderline Patients. New York: Int. Univ. Press.
    4. Abraham, K. (1916) The first pregenital stage of libido. Selected Papers. London, Hogarth Press, 1948.
    5. Abraham, K. (1917) Ejaculatio praecox. In: selected Papers. New York Basic Books.
    6. Abraham, K. (1921) Contributions to the theory of the anal character. Selected Papers. New York: Basic Books, 1953.
    7. Abraham, K. (1924) A Short study of the development of the libido, viewed in the light of mental disorders. In: Selected Papers. London: Hogarth Press, 1927.
    8. Abraham, K. (1924) Manic-depressive states and the pre-genital levels of the libido. In: Selected Papers. London: Hogarth Press, 1949.
    9. Abraham, K. (1924) Selected Papers. London: Hogarth Press, 1948.
    10. Abraham, K. (1924) The influence of oral erotism on character formation. Ibid.
    11. Abraham, K. (1925) The history of an impostor in the light of psychoanalytic knowledge. In: Clinical Papers and Essays on Psychoanalysis. New York: Basic Books, 1955, vol. 2.
    12. Abrams, S. (1971) The psychoanalytic unconsciousness. In: The Unconscious Today, ed. M. Kanzer. New York: Int. Univ. Press.
    13. Abrams, S. (1981) Insight. PSOC, 36.
    14. Abse, D W. (1985) The depressive character In Depressive States and their Treatment, ed. V. Volkan New York: Jason Aronson.
    15. Abse, D. W. (1985) Hysteria and Related Mental Disorders. Bristol: John Wright.
    16. Ackner, B. (1954) Depersonalization. J. Ment. Sci., 100.
    17. Adler, A. (1924) Individual Psychology. New York: Harcourt, Brace.
    18. Akhtar, S. (1984) The syndrome of identity diffusion. Amer. J. Psychiat., 141.
    19. Alexander, F. (1950) Psychosomatic Medicine. New York: Norton.
    20. Allen, D. W. (1974) The Feat- of Looking. Charlottesvill, Va: Univ. Press of Virginia.
    21. Allen, D. W. (1980) Psychoanalytic treatment of the exhibitionist. In: Exhibitionist, Description, Assessment, and Treatment, ed. D. Cox. New York: Garland STPM Press.
    22. Allport, G. (1937) Personality. New York: Henry Holt.
    23. Almansi, R. J. (1960) The face-breast equation. JAPA, 6.
    24. Almansi, R. J. (1979) Scopophilia and object loss. PQ, 47.
    25. Altman, L. Z. (1969) The Dream in Psychoanalysis. New York: Int. Univ. Press.
    26. Altman, L. Z. (1977) Some vicissitudes of love. JAPA, 25.
    27. American Psychiatric Association. (1987) Diagnostic and Statistical Manual of Mental Disorders, 3d ed. revised. Washington, D. C.
    28. Ansbacher, Z. & Ansbacher, R. (1956) The Individual Psychology of Alfred Adler. New York: Basic Books.
    29. Anthony, E. J. (1981) Shame, guilt, and the feminine self in psychoanalysis. In: Object and Self, ed. S. Tuttman, C. Kaye & M. Zimmerman. New York: Int. Univ. Press.
    30. Arlow. J. A. (1953) Masturbation and symptom formation. JAPA, 1.
    31. Arlow. J. A. (1959) The structure of the deja vu experience. JAPA, 7.
    32. Arlow. J. A. (1961) Ego psychology and the study of mythology. JAPA, 9.
    33. Arlow. J. A. (1963) Conflict, regression and symptom formation. IJP, 44.
    34. Arlow. J. A. (1966) Depersonalization and derealization. In: Psychoanalysis: A General Psychology, ed. R. M. Loewenstein, L. M. Newman, M. Schur & A. J. Solnit. New York: Int. Univ. Press.
    35. Arlow. J. A. (1969) Fantasy, memory and reality testing. PQ, 38.
    36. Arlow. J. A. (1969) Unconscious fantasy and disturbances of mental experience. PQ, 38.
    37. Arlow. J. A. (1970) The psychopathology of the psychoses. IJP, 51.
    38. Arlow. J. A. (1975) The structural hypothesis. PQ, 44.
    39. Arlow. J. A. (1977) Affects and the psychoanalytic situation. IJP, 58.
    40. Arlow. J. A. (1979) Metaphor and the psychoanalytic situation. PQ, 48.
    41. Arlow. J. A. (1979) The genesis of interpretation. JAPA, 27 (suppl.).
    42. Arlow. J. A. (1982) Problems of the superego concept. PSOC, 37.
    43. Arlow. J. A. (1984) Disturbances of the sense of time. PQ, 53.
    44. Arlow. J. A. (1985) Some technical problems of countertransference. PQ, 54.
    45. Arlow, J. A. & Brenner, C. (1963) Psychoanalytic Concepts and the Structural Theory, New York: Int. Univ. Press.
    46. Arlow, J. A. & Brenner, C. (1969) The psychopathology of the psychoses. IJP, 50.
    47. Asch, S. S. (1966) Depression. PSOC, 21.
    48. Asch, S. S. (1976) Varieties of negative therapeutic reactions and problems of technique. JAPA, 24.
    49. Atkins, N. (1970) The Oedipus myth. Adolescence, and the succession of generations. JAPA, 18.
    50. Atkinson, J. W. & Birch, D. (1970) The Dynamics of Action. New York: Wiley.
    51. Bachrach, H. M. & Leaff, L. A. (1978) Analyzability. JAPA, 26.
    52. Bacon, C. (1956) A developmental theory of female homosexuality. In: Perversions,ed, S. Lorand & M. Balint. New York: Gramercy.
    53. Bak, R. C. (1953) Fetishism. JAPA. 1.
    54. Bak, R. C. (1968) The phallic woman. PSOC, 23.
    55. Bak, R. C. & Stewart, W. A. (1974) Fetishism, transvestism, and voyeurism. An American Handbook of Psychiatry, ed. S. Arieti. New York: Basic Books, vol. 3.
    56. Balint, A. (1949) Love for mother and mother-love. IJP, 30.
    57. Balter, L., Lothane, Z. & Spencer, J. H. (1980) On the analyzing instrument, PQ, 49.
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    824. Stolorow, R. Transference. PMC. Forthcoming.
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    828. Stone, L. (1971) Reflections on the psychoanalytic concept of aggression. FQ, 40.
    829. Stone, L. (1973) On resistance to the psychoanalytic process. In: Psychoanalysis and Contemporary Science, ed. B. B. Rubinstein. New York: Macmillan, vol. 2.
    830. Stone, M. H. (1980) Borderline Syndromes. New York: McGrow Hill.
    831. Strachey, J. (1934) The nature of the therapeutic action of psychoanalysis. IJP, 15.
    832. Strachey, J. (1962) The emergence of Freud's fundamental hypothesis. SE, 3.
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    836. Szekely, L. (1960) Success, success neurosis and the self. Brit. J. Med. Psychol., 33.
    837. Taylor, G. J. (1977) Alexithymia and countertranceference. Psychother & Psychosom., 28.
    838. Ticho, E. (1972) Termination of psychoanalysis. PQ, 41.
    839. Tolpin, M. (1970) The infantile neurosis. PSOC, 25.
    840. Tolpin, M. (1971) On the beginnings of a cohesive self. PSOC. 26.
    841. Tolpin, M. & Kohut, H. (1980) The disorders of the self. In: The Course of Life, ed. S. Greenspan & G. Pollock. Washington, B. C.: U. S. Dept. Health and Human Services.
    842. Turkle, S. (1986) A review of Grosskurth, P.: Molanie Klein. New York: Times Books, Review, May 18, 1986.
    843. Tyson, P. Development. PMC. Forthcoming.
    844. Tyson, P. (1982) A developmental line of gender identity, gender role, and choice of love object. JAPA, 30.
    845. Tyson, P. & Tyson, R. L. Development. PMC. Forthcoming.
    846. Tyson, P. & Tyson, R. L. The psychoanalitic theory of development. PMC. Forthcoming.
    847. Tyson, P. & Tyson, R. L. (1984) Narcissism and superego development. JAPA, 34.
    848. Tyson, R. & Sundler, J. (1971) Problems in the selection of patients for psychoanalysis. Brit. J. Med. Psychol., 44.
    849. Valenstein, A. F. (1979) The concept of "classical" psycho-analysis. JAPA. 27. (suppl.).
    850. Volkan, V. D. (1981) Linking Objects and Linking Phenomena. New York: Int. Univ. Press.
    851. Waelder, R. (1930) The principle of multiple function. PQ, 5.
    852. Waelder, R. (1962) Book review of Psychoanalysis, Scientific Method and Philosophy, ed. S. Hook. JAPA, 10.
    853. Waelder, R. (1962) Psychoanalysis scientific method, and philosophy. JAPA, 10.
    854. Waelder, R. (1963) Psychic determinism and the possibility of prediction. PQ, 32.
    855. Waelder, R. (1967) Trauma and the variety of extraordinary challenges. In: Fuest (1967).
    856. Waelder, R. (1967) Inhibitions, symptoms and anxiety: forty years later. PQ, 36.
    857. Waldhorn, H. F. (1960) Assessment of analyzability. PQ, 29.
    858. Waldhorn, H. F. & Fine, B. (1971) Trauma and symbolism. Kris Study Group monogr. New York: Int. Univ. Press.
    859. Wallace, E. R. (1983) Freud and Anthropology. New York: Int. Univ. Press.
    860. Wallerstein, R. Reality. PMC. Forthcoming.
    861. Wallerstein, R. (1965) The goals of psychoanalysis. JAPA, 13.
    862. Wallerstein, R. (1975) Psychotherapy and Psychoanalysis. New York: Int. Univ. Press.
    863. Wallerstein, R. (1983) Defenses, defense mechanisms and the structure of the mind. JAPA, 31 (suppl.).
    864. Wallerstein, R. (1988) One psychoanalysis or many? IJP, 69.
    865. Wangh, M. (1979) Some psychoanalytic observations on boredom. IJP, 60.
    866. Weinshel, E. M. (1968) Some psychoanalytic considerations on moods. IJP, 51.
    867. Weinshel, E. M. (1971) The ego in health and normality. JAPA, 18.
    868. Weisman, A. D. (1972) On Dying and Denying. New York: Behavioral Publications.
    869. Weinstock, H. J. (1962) Successful treatment of ulcerative colitis by psychoanalysis. Brit. J. Psychoanal. Res., 6.
    870. Welmore, R. J. (1963) The role of grief in psychoanalysis. IJP. 44.
    871. Werner, H. & Kaplan, B. (1984) Symbol Formation. Hillsdale N. J.: Lawrence Eribaum.
    872. White. R. W. (1963) Ego and Reality in Psychoanalytic Theory. Psychol. Issues, 3.
    873. Whitman, R. M. (1963) Remembering and forgetting dreams in psychoanalysis. JAPA, 11.
    874. Wiedeman, G. Sexuality. PMC. Forthcoming.
    875. Wiedeman, G. (1962) Survey of psychoanalytic literature on overt male homosexuality. JAPA, 10.
    876. Wieder, H. (1966) Intellectuality. PSOC, 21.
    877. Wieder, H. (1978) The psychoanalytic treatment of preadolescents In Child Analysis and Therapy, ed. J. Glenn. New York Aronson.
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    880. Wilson, C. P Hohan, C. & Mintz, I. (1983) Fear of Being Fat. New York: Aronson.
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    888. Winnicott, D. W. (1960) The theory of the parent-infant relationship. In: Winnicott (1965).
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    Словарь психоаналитических терминов и понятий > БИБЛИОГРАФИЯ

  • 4 Kane, Joseph

    1894-1975
       El nombre de Joseph Kane se asocia de forma indisoluble a una productora, Republic, de principio a fin. Kane habia dirigido en 1935 un serial para Mascot, que junto con otras pequenas productoras se asociaron para fundar Republic ese mismo ano. Desde esa fecha hasta 1958, en que la productora desaparece, Kane es uno de sus directores mas prolificos. Estamos ante uno de los grandes nombres del western, en cantidad, ya que no en calidad. Entre 1934 y 1975 trabaja en no menos de 120 peliculas, la inmensa mayoria de las cuales pertenecen al genero que nos ocupa. Trabaja con Gene Autry, John Wayne, Robert Livingston, Roy Rogers, Bill Elliott, en tre otros. Despues dirigira algunos episodios de se ries de television y otras cuatro peliculas. Sus mejores filmes son, sin duda, Titanes de la montana y Los indomables, ya al final de su carrera.
        Tumbling Tumbleweeds. 1935. 57 minutos. Blanco y Negro. Republic. Gene Autry, Smiley Burnette, Lucile Browne.
        Melody Trail. 1935, 60 minutos. Blanco y Negro. Republic. Gene Autry, Smiley Burnette, Ann Rutherford.
        The Sagebrush Troubadour. 1935. 54 minutos. Blanco y Negro. Republic. Gene Autry, Smiley Burnette, Barbara Pepper.
        The Lawless Nineties. 1936. 55 minutos. Blanco y Negro. Republic. John Wayne, Ann Rutherford.
        King of the Pecos. 1936. 54 minutos. Blanco y Negro. Republic. John Wayne, Muriel Evans.
        The Lonely Trail. 1936. 58 minutos. Blanco y Negro. Republic. John Wayne, Ann Rutherford.
        Oh, Susanna! 1936. 59 minutos. Blanco y Negro. Republic. Gene Autry, Smiley Burnette, Frances Grant.
        Ride Ranger Ride. 1936. 59 minutos. Blanco y Negro. Republic. Gene Autry, Smiley Burnette, Kay Hugues.
        Ghost-Town Gold. 1936. 55 minutos. Blanco y Negro. Republic. Robert Livingston, Ray Corrigan, Kay Hugues, Max Terhune.
        The Old Corral. 1936. 56 minutos. Blanco y Negro. Republic. Gene Autry, Smiley Burnette, Hope Manning.
        Guns and Guitars. 1936. 56 minutos. Blanco y Negro. Republic. Gene Autry, Smiley Burnette, Dorothy Dix.
        Git Along. Little Dogies. 1937. 60 minutos. Blanco y Negro. Republic. Gene Autry, Smiley Burnette, Judith Allen.
        Round-Up Time in Texas. 1937. 58 minutos. Blanco y Negro. Republic. Gene Autry, Smiley Burnette, Maxine Doyle.
        Gunsmoke Ranch. 1937. 56 minutos. Blanco y Negro. Republic. Robert Livingston, Ray Corrigan, Julia Thayer, Max Terhune.
        Come On, Cowboys! 1937. 59 minutos. Blanco y Negro. Republic. Robert Livingston, Ray Corrigan, Maxine Doyle, Max Terhune.
        Yodelin’ Kid from Pine Ridge. 1937. 60 minutos. Blanco y Negro. Republic. Gene Autry, Smiley Burnette, Betty Bronson.
        Public Cowboy No. 1. 1937. 62 minutos. Blanco y Negro. Republic. Gene Autry, Smiley Burnette, Ann Rutherford.
        Heart of the Rockies. 1937. 56 minutos. Blanco y Negro. Republic. Robert Livingston, Ray Corrigan, Lynn Roberts, Max Terhune.
        Boots and Saddles. 1937. 59 minutos. Blanco y Negro. Republic. Gene Autry, Smiley Burnette, Judith Allen.
        Springtime in the Rockies. 1937. 60 minutos. Blanco y Negro. Republic. Gene Autry, Smiley Burnette, Polly Rowles.
        The Old Barn Dance. 1938. 60 minutos. Blanco y Negro. Republic. Gene Autry, Smiley Burnette, Helen Valkis.
        Arson Gang Busters. 1938. 65 minutos. Blanco y Negro. Republic. Robert Livingston, Rosalind Keith.
        Under Western Stars. 1938. 65 minutos. Blanco y Negro. Republic. Roy Rogers, Smiley Burnette, Carol Hugues.
        Gold Mine in the Sky. 1938. 60 minutos. Blanco y Negro. Republic. Gene Autry, Smiley Burnette, Carol Hugues.
        The Man from Music Mountain. 1938. 58 minutos. Blanco y Negro. Republic. Gene Autry, Smiley Burnette, Carol Hughes.
        Billy the Kid Returns. 1938. 58 minutos. Blanco y Negro. Republic. Gene Autry, Smiley Burnette, Mary Hart (Lynne Roberts).
        Come On, Rangers. 1938. 57 minutos. Blanco y Negro. Republic. Roy Rogers, Raymond Hatton, Mary Hart (Lynne Roberts).
        Shine On, Harvest Moon. 1938. 55 minutos. Blanco y Negro. Republic. Roy Rogers, Mary Hart (Lynne Roberts).
        Rough Riders’ Round-Up. 1939. 58 minutos. Blanco y Negro. Republic. Roy Rogers, Raymond Hatton, Mary Hart (Lynne Roberts).
        Frontier Pony Express. 1939. 58 minutos. Blanco y Negro. Republic. Roy Rogers, Mary Hart (Lynne Roberts).
        Southward Ho. 1939. 57 minutos. Blanco y Negro. Republic. Roy Rogers, Mary Hart (Lynne Roberts).
        In Old Caliente. 1939. 57 minutos. Blanco y Negro. Republic. Roy Rogers, Mary Hart (Lynne Roberts).
        Wall Street Cowboy. 1939. 66 minutos. Blanco y Negro. Republic. Roy Rogers, Ann Baldwyn, George Hayes, Raymond Hatton.
        In Old Monterey. 1939. 74 minutos. Blanco y Negro. Republic. Gene Autry, Smiley Burnette, June Storey.
        The Arizona Kid. 1939. 61 minutos. Blanco y Negro. Republic. Roy Rogers, Dorothy Sebastian, George Hayes.
        Saga of Death Valley. 1939. 58 minutos. Blanco y Negro. Republic. Roy Rogers, Doris Day, George Hayes.
        Days of Jesse James. 1939. 63 minutos. Blanco y Negro. Republic. Roy Rogers, Pauline Moore, George Hayes.
        Young Buffalo Bill. 1940. 59 minutos. Blanco y Negro. Republic. Roy Rogers, Pauline Moore, George Hayes.
        The Carson City Kid. 1940. 57 minutos. Blanco y Negro. Republic. Roy Rogers, Pauline Moore, Bob Steele.
        The Ranger and the Lady. 1940. 59 minutos. Blanco y Negro. Republic. Roy Rogers, Julie Bishop, George Hayes.
        Colorado. 1940. 57 minutos. Blanco y Negro. Republic. Roy Rogers, Pauline Moore, George Hayes.
        Young Bill Hickcok. 1940. 59 minutos. Blanco y Negro. Republic. Roy Rogers, Sally Payne, George Hayes.
        The Border Legion. 1940. 58 minutos. Blanco y Negro. Republic. Roy Rogers, Carol Hugues, George Hayes.
        Robin Hood of the Pecos. 1941. 59 minutos. Blanco y Negro. Republic. Roy Rogers, Marjorie Reynolds, George Hayes.
        In Old Cheyenne. 1941. 58 minutos. Blanco y Negro. Republic. Roy Rogers, Joan Woodbury, George Hayes.
        Sheriff of Tombstone. 1941. 56 minutos. Blanco y Negro. Republic. Roy Rogers, Elyse Knox, George Hayes.
        Nevada City. 1941. 58 minutos. Blanco y Negro. Republic. Roy Rogers, Sally Payne, George Hayes.
        Bad Man of Deadwood. 1941. 61 minutos. Blanco y Negro. Republic. Roy Rogers, Carol Adams, George Hayes.
        Jesse James at Bay. 1941. 56 minutos. Blanco y Negro. Republic. Roy Rogers, Gale Storm, Sally Payne, George Hayes.
        Red River Valley. 1941. 62 minutos. Blanco y Negro. Republic. Roy Rogers, Sally Payne, George Hayes.
        Man from Cheyenne. 1942. 60 minutos. Blanco y Negro. Republic. Roy Rogers, Sally Payne, George Hayes.
        South of Santa Fe. 1942. 55 minutos. Blanco y Negro. Republic. Roy Rogers, Lynda Hayes, George Hayes.
        Sunset on the Desert. 1942. 63 minutos. Blanco y Negro. Republic. Roy Rogers, Lynne Carver, George Hayes.
        Romance on the Range. 1942. 63 minutos. Blanco y Negro. Republic. Roy Rogers, Sally Payne, George Hayes.
        Sons of the Pioneers. 1942. 55 minutos. Blanco y Negro. Republic. Roy Rogers, Maris Wrixon, George Hayes.
        Sunset Serenade. 1942. 58 minutos. Blanco y Negro. Republic. Roy Rogers, Helen Parrish, George Hayes.
        Heart of the Golden West. 1942. 65 minutos. Blanco y Negro. Republic. Roy Rogers, Ruth Terry, George Hayes, Smiley Burnette.
        Ridin’ Down the Canyon. 1942. 55 minutos. Blanco y Negro. Republic. Roy Rogers, Lynda Hayes, George Hayes, Bob Nolan.
        Idaho. 1943. 70 minutos. Blanco y Negro. Republic. Roy Rogers, Virginia Grey, Smiley Burnette, Bob Nolan.
        King of the Cowboys. 1943. 67 minutos. Blanco y Negro. Republic. Roy Rogers, Peggy Moran, Smiley Burnette, Bob Nolan.
        Song of Texas. 1943. 69 minutos. Blanco y Negro. Republic. Roy Rogers, Sheila Ryan, Barton MacLane, Bob Nolan.
        Silver Spurs. 1943. 65 minutos. Blanco y Negro. Republic. Roy Rogers, Phyllis Brooks, Smiley Burnette, Bob Nolan, John Carradine.
        The Man from Music Mountain. 1943. 71 minutos. Blanco y Negro. Republic. Roy Rogers, Ruth Ferry, Bob Notan.
        Hands Across the Border (Cita en la frontera). 1944. 73 minutos. Blanco y Negro. Republic. Roy Rogers, Ruth Terry, Bob Nolan.
        The Cowboy and the Senorita. 1944. 78 minutos. Blanco y Negro. Republic. Roy Rogers, Mary Lee, Dale Evans, Bob Nolan.
        The Yellow Rose of Texas. 1944. 69 minutos. Blanco y Negro. Republic. Roy Rogers, Dale Evans, Bob Nolan.
        Song of Nevada (La cancion de Nevada). 1944. 75 minutos. Blanco y Negro. Republic. Roy Rogers, Dale Evans, Mary Lee, Bob Nolan.
        Flame of Barbary Coast (Algun dia volvere). 1945. 91 minutos. Blanco y Negro. Republic. John Wayne, Ann Dvorak.
        Dakota. 1945. 82 minutos. Blanco y Negro. Republic. John Wayne, Vera Ralston, Walter Brennan.
        In Old Sacramento. 1946. 89 minutos. Blanco y Negro. Republic. Bill Elliott, Constance Moore
        The Plainsman and the Lady. 1946. 87 minutos. Blanco y Negro. Republic. Bill Elliott, Vera Ralston, Andy Clyde.
        Wyoming. 1947. 84 minutos. Blanco y Negro. Republic. Bill Elliott, Vera Ralston, George Hayes.
        In Old Los Angeles. 1948. 88 minutos. Blanco y Negro. Republic. Bill Elliott, Catherine McLeod, Andy Devine.
        The Gallant Legion. 1948. 88 minutos. Blanco y Negro. Republic. Bill Elliott, Adele Mara, Adrian Booth, Andy Devine.
        The Plunderers. 1948. 87 minutos. Trucolor. Republic. Rod Cameron, Ilona Massey, Adrian Booth.
        The Last Bandit. 1949. 80 minutos. Trucolor. Republic. Bill Elliott, Adrian Booth, Forrest Tucker, Andy Devine.
        Brimstone. 1949. 90 minutos. Trucolor. Republic. Rod Cameron, Adrian Booth, Forrest Tucker, Walter Brennan.
        Rock Island Trail. 1950. 90 minutos. Trucolor. Republic. Forrest Tucker, Adele Mara, Adrian Booth.
        The Savage Horde. 1950. 90 minutos. Blanco y Negro. Republic. Bill Elliott, Adrian Booth, Grant Whiters, Noah Beery, Jr.
        California Passage. 1950. 90 minutos. Blanco y Negro. Republic. Forrest Tucker, Adele Mara, Jim Davis.
        Oh! Susanna. 1951. 90 minutos. Trucolor. Republic. Rod Cameron, Adrian Booth, Forrest Tucker.
        Woman of the North Country. 1952. 92 minutos. Trucolor. Republic. Ruth Hussey, Rod Cameron, John Agar, Gale Storm
        Ride the Man Down. 1952. 90 minutos. Trucolor. Republic. Brian Donlevy, Rod Cameron, Ella Raines.
        San Antone (Los rebeldes de San Antonio). 1953. 90 min. Blanco y Negro. Republic. Rod Cameron, Arleen Whelan, Katy Jurado, Forrest Tucker.
        Jubilee Trail (Extrana aventura). 1954. 103 minutos. Trucolor. Republic. Vera Ralston, Forrest Tucker, Joan Leslie.
        Hell’s Outpost. 1954. 90 minutos. Blanco y Negro. Republic. Rod Cameron, Joan Leslie, John Russell.
        Timberjack (Titanes de la montana). 1955. 94 minutos. Trucolor. Republic. Sterling Hayden, Vera Ralston.
        The Road to Denver. 1955. 90 minutos. Trucolor. Republic. John Payne, Mona Freeman, Lee J. Cobb.
        The Vanishing American (El ocaso de una raza). 1955. 90 minutos. Blanco y Negro. Republic. Scott Brady, Audrey Totter, Forrest Tucker.
        The Maverick Queen (Los indomables). 1956. 92 minutos. Trucolor. Natu rama. Republic. Barbara Stanwyck, Barry Sullivan, Scott Brady.
        Thunder Over Arizona. 1956. 70 minutos. Trucolor. Naturama. Republic. Skip Homeier, Kristine Miller.
        Duel at Apache Wells. 1957. 70 minutos. Blanco y Negro. Naturama. Republic. Anna Maria Alberguetti, Ben Cooper, Jim Davis.
        Spoilers of the Forest. 1957. 68 minutos. Trucolor. Naturama. Republic. Rod Cameron, Vera Ralston.
        The Last Stagecoach West. 1957. 67 minutos. Blanco y Negro. Naturama. Republic. Jim Davis, Mary Castle.
        Gunfire at Indian Gap. 1957. 70 minutos. Blanco y Negro. Naturama. Republic. Vera Ralston, Anthony George.
        The Lawless Eighties. 1958. 70 minutos. Blanco y Negro. Naturama. Republic. Buster Crabbe, John Smith, Marilyn Saris.
        Smoke in the Wind (co-d.: Andy Brennan). 1975. 98 minutos. Color. Gamalex. John Ashely, John Russell, Susan Houston, Walter Brennan.

    English-Spanish dictionary of western films > Kane, Joseph

  • 5 Bibliography

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    Historical dictionary of quotations in cognitive science > Bibliography

  • 6 East Timor

       Colony of Portugal from the 16th century to December 1975, with an area of 40,000 square kilometers (18,989 square miles). East Timor is located on the eastern portion of the island of Timor in the Indonesian archipelago. From 1975 to August 1999, when it was forcibly annexed and occupied by Indonesia, until May 2002, when it achieved full independence, East Timor was, in effect, a ward of the United Nations.
       In the 16th century, the Portuguese established trading posts on the island, but for centuries few Portuguese settled there, and the "colony" remained isolated and neglected. After the Dutch won control of Indonesia, there was a territorial dispute with Portugal as to who "owned" what on the island of Timor. In 1859, this question was decided as the Dutch and Portuguese governments formally divided the island into a Dutch portion (west) and the Portuguese colony (east) and established the frontier. From the late 19th century to World War I, Portugal consolidated its control of East Timor by means of military campaigns against the Timorese tribes. In addition to colonial officials, a few Portuguese missionaries and merchants occupied East Timor, but few Portuguese ever settled there.
       East Timor's geographic location close to the north coast of Australia and its sharing of one island in the Dutch colony catapulted it into world affairs early in World War II. To forestall a Japanese invasion of Timor, a joint Dutch-Australian expedition landed on 17 December 1941; the Portuguese authorities neither resisted nor cooperated. In February 1942, when Japanese troops landed in Timor, the small allied force fled to the hills and later was evacuated to Australia. Japan occupied all of Timor and the remainder of the Dutch East Indies until Japan's surrender in September 1945. Portugal soon reassumed control.
       After the Revolution of 25 April 1974, East Timorese nationalist parties hoped for rapid decolonization and independence with Lisbon's cooperation. But on 28 November 1975, before a preoccupied Portugal could work out a formal transfer of power, the Revolutionary Front of Independent East Timor (FRETILIN), then in control of the former colony's capital, declared independence, and, on 7 December 1975, Indonesian armed forces swiftly invaded, occupied, and annexed East Timor. In the following years, a tragic loss of life occurred. Portugal refused to recognize Indonesia's sovereignty over East Timor and claimed legal sovereignty before the United Nations.
       As Indonesia persistently and brutally suppressed Timorese nationalist resistance, world media attention focused on this still remote island. Several sensational international and Indonesian events altered the status of occupied East Timor, following the continuation of FRETILIN guerrilla resistance. In November 1991, world media disseminated information on the Indonesian forces' slaughter of East Timorese protesters at a cemetery demonstration in the capital of Dili. In 1996, two East Timorese, Bishop Belo and José Ramos Horta, each a symbol of East Timorese resistance and the desire for independence, shared the Nobel Peace Prize. Then, in 1998, in Indonesia, the Suharto regime collapsed and was replaced by a more democratic government, which in January 1999 pledged a free referendum in East Timor. On 30 August 1999, the referendum was held, and nearly 80 percent of the East Timorese voters voted for independence from Indonesia.
       However, Indonesian armed forces and militias reacted brutally, using intimidation, murder, mayhem, and razing of buildings to try to reverse the people's will. Following some weeks of confusion, a United Nations (UN) armed forces, led by Australia, took control of East Timor and declared it a UN protectorate, to last until East Timor was secure from Indonesian aggression and prepared for full independence. East Timor had changed from a Portuguese colony to an Indonesian protectorate/colony to a fledgling nation-in-the-making.
       The status of East Timor as a ward of the UN was made official on 25 October 1999, as the United Nations Transitional Administration in East Timor began to prepare the country for independence. Appalling conditions prevailed: 70 percent of the country's buildings had been destroyed and nearly half of the population of 800,000 had been driven out of East Timor into uneasy refuge in West Timor, under Indonesian control. A territory without an economy, East Timor lacked police, civil servants, schools, and government records.
       With UN assistance, general elections were held in the spring of 2002; the majority of parliamentary seats were won by FRETILIN, and José "Xanana" Gusmão was elected the first president. On 20 May 2002, East Timor became independent. World luminaries adorned the independence celebrations: UN secretary-general Kofi Annan, former U.S. president Bill Clinton, and other celebrities attended. But East Timor's travails continued with civil strife and uncertainty.

    Historical dictionary of Portugal > East Timor

  • 7 TEUCTLI

    têuctli, pluriel têtêuctin.
    Seigneur, noble, gentilhomme, personnage élevé, premier magistrat d'une cité.
    'têuctli' est un titre auquel pouvaient accéder des chefs de lignage, des marchands, de prêtres ou des guerriers. La transmission de ce titre n'était pas strictement héréditaire mais relevait d'une élection au sein d'un lignage.
    " huehcâuh têuctli ", gentilhomme ancien.
    'têuctli', magistrat. Décrit dans Sah10,15. Le texte esp. dit senador.
    'in cualli pôchtlân acxotlân têuctli tlahtoh', the good ruler of merchandising, of trading, Sah10,60.
    * plur., 'têtêuctin'. SIS 1952, 168:31.
    'in tenochcah tetêuctin', les seigneurs des Tenochcas. Tezozomoc 1975,5.
    " in mâhuiztîlilônih, in têtêuctin, in âchcacâuhtin, in tequihuahqueh ", ceux qui sont illustres, les princes, les capitaines, les guerriers émérites. Sah6,129.
    * à la forme possédée le radical 'têuc-tli' est remplacé par le radical dérivé 'têucyô-tl'.
    'nimotêucyo', je suis ton seigneur, i.e. de suis ton maître.
    'timotêucyôhuân', nous sommes tes seigneurs, i.e. nous sommes tes courtisans (à noter la différence de sens entre les formes possédées singulière et plurielle). Comparez ces formes avec leurs correspondants à la forme absolue.
    'nitêuctli', je suis un seigneur. 'titêtêuctin', nous sommes des seigneurs. R.Andrews Introd. 153.
    Cependant 'totêuc', notre seigneur, notre dame, ainsi s'adresse la fille à son père ou à sa mère dans les familles nobles. D'après SIS 1952,329.
    'totêucyo', unser Herr (aussagend), SIS 1952,329.
    Est dit de Cortès assimilé à Quetzalcoatl. Sah12,11.
    De même " xicmotlatlauhtilicân in totêucyo in teôtl ", adorez notre seigneur le dieu. Sah12, 13.
    " antotêucyôhuân ", vous êtes nos seigneurs - you are our lords. R.Joe Campbell 1997.
    " in tlâcatl, in totêucyo, in tloqueh nâhuaqueh, in totêucyo, in yohualli, in ehecatl ", désigne la divinité, invoquée par le pénitent qui se confesse. Sah1,24.
    " in tlâcatl, in yohualli, in ehecatl, in totêucyo, in tlôqueh, nâhuaqueh ", le maître qui est la nuit, qui est le vent, Notre Seigneur qui est près de toutes choses.
    Est dit de la divinité sous les traits de Quetzalcôâtl. Launey II 288 = Sah10, 190.
    " îtêucyo " peut aussi signifier son maître, en parlant du chien.
    " in quihuâlîxihmah in îtêucyo ", quand il a reconnu son maître.
    Est dit du chien, chichi. Launey II 292 = Sah3,44.
    " anca canah cetzin ômonêxîtih in îcocôcauh in tlâcatl totêucyo ", car quelque part le seigneur notre maître a montré une de ses richesses - because somewhere some of the wealth of the master, our lord, hath been shown me. Il s'agit d'Huitzilopochtli. Sah9,55.
    " in totêucyohuân ", nos seigneurs. Sah6,101.
    * forme possédée inaliénable également -têcuiyo (K s têuctli seule forme possédée qu'elle signale).
    * forme possédée, au vocatif.
    " tlâcatlé, totêcué, tlâlôcântêuctlé ", ô maître, ô notre seigneur, ô seigneur de Tlalocan.
    Launey II 164
    " tlâcatl, totêcué ", ô maître, ô notre seigneur. Invocation à Tezcatlipoca. Sah8,1.
    "tlâcatlé, totêcué", ô maître, ô notre seigneur. Dit un vieillard en s'adressant à un jeune homme. Sah6,183 (totecoe)..
    " ca ye ixquich inic tihuâllahtiyahqueh totêcué ", c'est bien là tout avec quoi nous sommes venus, oh ! notre seigneur! Rencontre avec Cortès. Sah12,15.
    " câmpa nel totêcué ", où est donc le vrai, oh notre seigneur. Sah12,17.
    " totêucyoyé ", ô notre Seigneur. S'adresse à Tezcatlipoca, Sah6.2,
    * plur., " têtêuctin ", les nobles, Sah8,42.
    " têtêuctzin ", 'segundos señores' comme Zurita 1941, 142 les appelle par opposition aux " tlazohpipiltin " (les nobles héréditaires). Cf. F.Katz 1966,214. N.Davies CIA 1972 lV 214
    They were perhaps more to be compared to English live peers, honoured for their own lifetime for their services to the community, out with the difference that they were also provided by
    the ruler with lands and with people to cultivate them (tecallec). The señor virtually maintened them, and they could even eat in the palace. (Zurita 1941,214). N.Davis CIA 1972 IV 214.

    Dictionnaire de la langue nahuatl classique > TEUCTLI

  • 8 Dr. Jekyll and Mr. Hyde

    1. (1932)
       1932 - США (81 мин)
         Произв. PAR (Рубен Мамулян)
         Реж. РУБЕН МУМУЛЯН
         Сцен. Сэмюэл Хоффенстин и Пёрси Хит по мотивам одноименной повести Роберта Льюиса Стивенсона
         Опер. Карл Страсс
         В ролях Фредрик Марч (доктор Джекилл / мистер Хайд), Мириам Хопкинз (Айви Пирсон), Роз Хобарт (Мюриэл Кэрю), Холмс Херберт (доктор Лэньон), Хэллиуэлл Хоббз (Кэру), Эдгар Нортон (Пул), Темпи Пиготт (миссис Хокинс).
       Лондон, конец XIX в. В переполненной аудитории прославленный доктор Джекилл читает лекцию, где говорит и о том, что природа каждого человека двойственна и разрывается между противоположными склонностями к Добру и Злу. Он утверждает, будто ему вот-вот удастся разделить эти склонности внутри одного человека: по его мнению, это единственный способ, который позволит Добру вознестись до ранее невиданных высот. Его слова одни слушатели встречают восторгом, другие - насмешками. Отец его невесты Мюриэл требует отложить свадьбу на 8 месяцев и, несмотря на все настояния Джекилла, остается непреклонен. Той же ночью на улице Джекилл приходит на помощь проститутке Айви Пирсон, которую избивает клиент, и провожает ее до дома. Благодарная Айви целует его и приглашает заходить в гости. Джекилл погружается в раздумья.
       После долгих опытов в своей лаборатории он глотает микстуру, которая превращает его в обезьяноподобное существо, полное дикарской энергии и жестоких плотских желаний, которые ему не терпится удовлетворить сполна. Он отправляется на поиски Айви и находит ее в таверне, где она поет для посетителей. Он вынуждает ее сесть за его столик. В облике Хайда он часто приходит к Айви, причиняя ей физические и душевные муки. Джекилл решает прекратить опыты, видя, что они принимают дурной оборот. Он посылает Айви крупную сумму. Она приходит отблагодарить его и рассказывает о рабстве, в котором ее держит Хайд. Джекилл уверяет, что Хайд больше никогда не будет мучить ее. Но в парке, куда Джекилл вышел отдохнуть, он видит, как кошка пожирает птицу, и это жестокое зрелище вновь против его воли приводит в действие механизм превращения в Хайда.
       Хайд врывается к Айви, раскрывает ей свою тайну («Я - Джекилл») и душит ее. Он пытается вернуться к себе, но не может этого сделать, поскольку, решив положить опыту конец, уже выбросил ключ от лаборатории. Он посылает записку своему другу Лэньону и просит его забрать из лаборатории кое-какие склянки и передать их некоему мистеру Хайду, который за ними явится. Но, дождавшись прихода Хайда, Лэньон, беспокоясь о Джекилле, требует вестей о нем и угрожает незнакомцу револьвером. Хайд видит только один выход: на глазах у друга преобразиться снова. Он рассказывает Лэньону свою историю. Лэньон в ужасе говорит, что Джекилл нарушил божественный закон и отныне должен приготовиться к тяжелой каре. Джекилл приходит к Мюриэл, чтобы расторгнуть помолвку, но снова невольно превращается в Хайда. Он жестоко избивает слугу. Вернувшись в лабораторию, он опять становится Джекиллом и пытается ввести в заблуждение полицию. Но Лэньон опознает его как человека, избившего слугу. 3-е невольное превращение в Хайда. Драка. Полицейский убивает Хайда. Умирая, тот вновь принимает облик Джекилла, и лицо его разглаживается.
       ► 3-й фильм Мамуляна и 1-я звуковая экранизация «Доктора Джекилла и мистера Хайда», за которой последовали версии Виктора Флеминга, Джерри Льюиса, Ренуара и пр. Можно предположить, что эта версия - лучшая. В самом деле, у эстета и формалиста Мамуляна, ни разу не снявшего двух похожих фильмов, экранизация повести Стивенсона получилась самой острой и смелой, как на уровне диалогов, так и на уровне изображения и поведения персонажей. Мамулян, так сказать, пользуется последними мгновениями свободы, предоставленными голливудским режиссерам до введения цензурного кодекса, чтобы подчеркнуть сексуальный аспект сюжета. Джекилл - неудовлетворенный жених, вынужденный, ради соблюдения приличий эпохи, выжидать немалый срок перед свадьбой. Хайд доходит до насилия и преступлений в удовлетворении сексуальных позывов, подавляемых его альтер-эго. Таким образом в образе Джекилла и Хайда Мамулян противопоставляет не воплощения Добра и Зла, но, скорее, 2 типа личности, каждый из которых по-своему закомплексован и изуродован обществом и цивилизацией. Как и большинство фильмов Мамуляна, эта картина отличается немалой виртуозностью и рядом технических нововведений: длинные планы субъективной камерой (заход Джекилла в аудиторию, 1-е превращение), которые, по словам режиссера, должны были вызвать у зрителя чувство, будто он сам становится Джекиллом и Хайдом: впечатляющее использование двойной экспозиции (ножки Мириам Хопкинз долго качаются на фоне силуэтов друзей, идущих по улице; измученное лицо Джекилла, молящего господа о прощении, появляется на клавишах рояля Мюриэл). Превращение в парке, снятое одним планом, было сделано при помощи быстро сменяемых фильтров, и вызванный эффект поразителен даже по сегодняшним меркам. Это, несомненно, самый красивый из подобных трюков, когда-либо использованных в кино. Наконец, чтобы украсить моменты превращения человека в чудовище, Мамулян придумал множество необычных звуковых шумов и лично выцарапал их на пленке, тем самым подарив публике первый образец синтетического звука на экране.
       БИБЛИОГРАФИЯ: реконструкция фильма в 1600 фоторепродукциях (с полными диалогами) сделана Ричардом Дж. Энобайлом (Richard J. Anobile, Universe Books, New York, 1975).
    2. (1941)
       1941 - США (112 мин)
         Произв. MGM (Виктор Флеминг)
         Реж. ВИКТОР ФЛЕМИНГ
         Сцен. Джон Ли Мэйин по мотивам одноименной повести Роберта Льюиса Стивенсона
         Опер. Джозеф Раттанбёрг
         Муз. Франц Уэксмен
         В ролях Спенсер Трэйси (доктор Джекилл / мистер Хайд), Ингрид Бергман (Айви Питерсон), Лана Тёрнер (Беатрикс Эмери), Доналд Крисп (сэр Чарлз Эмери), Бартон Маклейн (Сэм Хиггинз), Ч. Обри Смит (епископ), Питер Годфри (Пул), Сара Оллгуд (миссис Хиггинз), Фредерик Уорлок (доктор Хит).
       ► Сценарий довольно точно следует достаточно вольной экранизации Мамуляна (напр., ни единой героини нет в повести Стивенсона), но размещает сюжет в более банальной и нравоучительной атмосфере. Пластическая красота работы Джозефа Раттанбёрга (особенно в том, как подчеркиваются лица и силуэты 2 актрис в великолепном освещении ночных сцен на улицах Лондона) и некоторая, по-своему очаровательная затянутость каждого действия заменяют здесь остроту, смелость и насыщенность режиссерского стиля Мамуляна. Актерская игра - сильная сторона этого фильма, который больше полагается па темп, нежели на изобретательность. Спенсер Трэйси в очередной раз демонстрирует разнообразие своей актерской палитры и способность к обновлению. Но главное - неожиданный выбор актрис на женские роли (по поводу которого в свое время было пролито немало чернил), в определенной мере обновляющий содержание обеих ролей. Все ожидали, что Лана Тёрнер исполнит роль уличной женщины, а Бергман - невесты Джекилла из богатого и благородного рода. Но Бергман захотела хотя бы раз сыграть «нехорошую девушку», и Флеминг уступил ее желанию, поменяв роли местами. В результате обе героини, лишившись какой бы то ни было извращенности, превратились в жертв, персонажей мелодрамы. (Кэтрин Хепбёрн говорила, что Спенсер Трэйси хотел бы видеть ее своей партнершей в ролях Айви и Беатрис. Эта мысль о двойной женской роли оригинальна и достойна внимания.) С технической точки зрения 4 превращения Джекилла в Хайда и Хайда в Джекилла оставляют печальное впечатление. Они основаны на банальном последовательном наложении крупных планов и, по сравнению с необыкновенными трюками из фильма Мамуляна, представляют собой поразительный шаг назад.
       N.В. Повесть Стивенсона была экранизирована огромное количество раз. Большинство экранизаций выдержаны на хорошем уровне. В эпоху немого кино самой значимой экранизацией была постановка Джона С. Робертсона (1920), выпущенная студией «Paramount» с Джоном Бэрримором в главной роли. Ее действие происходит в XIX в., тогда как действие «конкурентной» версии того же года, выпущенной студией «Pioneer», перенесено в наши дни (главную роль здесь играет Шелдон Льюис, режиссер Луи Мейер). В эпоху звукового кино, помимо версий Флеминга и Мамуляна, самой блистательной, несомненно, является Чокнутый профессор, The Nutty Professor. В жанре бурлеска ее предшественником можно считать старый фильм со Стэном Лорелом Доктор Рассол и мистер Гордыня, Dr Pyckle and Mr. Pride, снятый в 1925 г. в декорациях Горбуна из Нотр-Дама, The Hunchback of Notre Dame, экранизации романа Виктора Гюго, поставленной Уоллесом Уорсли. За пределами США упомянем среди множества версий датскую экранизацию 1910 г. реж. Аугуста Блома; фильм Мурнау Двуликий Янус, Der Januskopf, 1920 с Конрадом Файдтом; необычную аргентинскую экранизацию 1950 г. Странная история человека и зверя, El extrano caso del hombre у la bestia Марио Соффичи (он же играет и главную роль). В 1-й части фильм пытается убедить зрителя, что в нем действуют 2 разных человека; действие происходит в урбанистических декорациях нуара (погони в метро, трамвайном депо и т. д.). В 1959 г. Ренуар снял почти экспериментальную версию Завещание доктора Корделье, Le testament du Dr. Cordelier; в 1972 г. в английском фильме Роя Уорда Бейкера Доктор Джекилл и сестра Хайд, Dr. Jekyll and Sister Hyde главную роль исполняют мужчина (Ралф Бейтс) и женщина (Мартин Бесуик). В 1960 г. Теренс Фишер проиллюстрировал тему в оригинальном, но не вполне удачном фильме Два лица доктора Джекилла, The Тwо Faces of Dr. Jekyll, где еще до Джерри Льюиса Хайд предстает красивым и привлекательным персонажем. Вспомним также мексиканскую версию Человек и чудовище, El Hombre у el Monstruo, 1958 Рафаэля Баледона. Джекилл здесь оказывается не ученым, а ревнивым музыкантом и убийцей, ставшим оборотнем. Когда он оборачивается чудовищем, только материнская рука своим прикосновением может вернуть его в человеческое обличье. Как бы то ни было, версии Мамуляна и Флеминга в драматургическом отношении многим обязаны театральной инсценировке повести Стивенсона, сделанной в 1887 г. Томасом Расселом Салливеном, не упомянутой в титрах обоих фильмов, а в смысле создания атмосферы - немой версии Робертсона (по сценарию Клары С. Беранже).

    Авторская энциклопедия фильмов Жака Лурселля > Dr. Jekyll and Mr. Hyde

  • 9 Dunaway, Faye

    (р. 1941) Данауэй, Фэй
    Актриса, снималась в фильмах: "Бонни и Клайд" ["Bonnie and Clyde"] (1967), "Дело Томаса Крауна" ["The Thomas Crown Affair"] (1968), "Маленький большой человек" ["Little Big Man"] (1970), "Китайский квартал" ["Chinatown"] (1974), "Три мушкетера" ["The Three Musketeers"] (1974), "Четыре мушкетера" ["The Four Musketeers"] (1975), "Три дня Кондора" ["Three Days of the Condor"] (1975), "Телесеть" ["Network"] (1976) - премия Оскар [ Oscar], "Пьянчужка" ["Barfly"] (1987) и др. Пик популярности актрисы пришелся на 70-е годы

    English-Russian dictionary of regional studies > Dunaway, Faye

  • 10 Arendt, Hannah

    перс.
    пол., фил. Арендт, Анна (1906-1975; немецкий политический философ, исследователь тоталитаризма, автор концепций animal laborans и homo faber; училась у Хайдеггера и Ясперса; с 1941 г. жила в США; в 1944 г. выпустила известную книгу "The Origins of Totalitarianism", где предложила рассматривать нацизм и сталинизм как принципиально новые формы государственной власти, основанные на терроре и идеологической мифологизации, обосновывающей необходимость террора; изучала понимание свободы в современном и античном мире; предложила разделять понятия labour и work, что привело к появлению концепций animal laborans и homo faber)
    See:

    Англо-русский экономический словарь > Arendt, Hannah

  • 11 Evans, Walker

    (1903-1975) Эванс, Уокер
    Фотограф, автор многих известных фотографий, повествующих о жизни на Юге [ South] в период Великой депрессии [ Great Depression]. Выпустил книгу своих работ "Воздадим же знаменитым" ["Let Us Now Praise Famous Men"] (1941) и опубликовал их в журнале "Форчун" [ Fortune], редактором которого он был

    English-Russian dictionary of regional studies > Evans, Walker

  • 12 O'Neal, Ryan

    (р. 1941) О'Нил, Райан
    Актер кино. Широкую известность получил после исполнения главной роли в мелодраме "История любви" ["Love Story"] (1970). Среди фильмов с его участием: "Большой прыжок" ["The Big Bounce"] (1969), "Как дела, доктор?" ["What's Up, Doc?"] (1972), "Бумажная луна" ["Paper Moon"] (1973), "Барри Линдон" ["Barry Lyndon"] (1975), "Никелодеон" ["Nickelodeon"] (1976), "На один мост дальше" ["A Bridge Too Far"] (1977), "Водитель" ["The Driver"] (1978), "Партнеры" ["Partners"] (1982), "Непримиримые противоречия" ["Irreconcilable Differences"] (1984) и др.

    English-Russian dictionary of regional studies > O'Neal, Ryan

  • 13 Theroux, Paul

    (р. 1941) Теру, Пол
    Писатель и путешественник. Работа учителем в дальних странах - Малави, Уганде и Сингапуре - дала ему материал для нескольких популярных романов: "Играющие девочки" ["Girls At Play"] (1969), "Святой Джек" ["Saint Jack"] (1973) и др. Позднее вышли книги "Берег комаров" ["Mosquito Coast"] (1982), "Зона О" ["O-Zone"] (1986), "Чикагский Луп" ["Chicago Loop"] (1991). Среди документальных рассказов "Большой железнодорожный базар. На поезде через Азию" ["The Great Railway Bazaar: By Train through Asia"] (1975) и "Счастливые острова Океании" ["Happy Isles of Oceania"] (1992)

    English-Russian dictionary of regional studies > Theroux, Paul

  • 14 Yeager, Charles Elwood (Chuck)

    (р. 1923) Йегер, Чарлз Элвуд (Чак)
    Летчик, первый человек, преодолевший на самолете звуковой барьер. Служил в авиации с 1941; совершил 64 боевых вылета и сбил 13 самолетов противника. После войны был инструктором и летчиком-испытателем. 14 октября 1947, совершая полет на экспериментальном самолете "Белл XS-1" [Bell XS-1, "Glamorous Glennis"], преодолел на высоте 12,8 тыс. м звуковой барьер и установил мировой рекорд скорости - 1066 км/час. В 1953 на самолете X-1A совершил полет со скоростью 2660 км/ч. В 1975 вышел в отставку в звании бригадного генерала [ Brigadier General]. Автор воспоминаний. Избран в Национальную галерею славы авиации [National Aviation Hall of Fame], его имя внесено в "Книгу рекордов Гиннесса"

    English-Russian dictionary of regional studies > Yeager, Charles Elwood (Chuck)

  • 15 Australian Labor Party

    Австралийская лейбористская партия (одна из наиболее влиятельных политических партий, одна из старейших социал-демократических партий мира; она была образована в 1891 на уровне отдельных колоний. В 1902, вскоре после образования Австралийского Союза, возникли элементы общенациональной структуры лейбористской партии. В 1904 она впервые сформировала правительство. Находясь у власти с 1941 по 1949 и с 1972 по 1975, а также в 80-е годы, лейбористское правительство осуществило целый ряд прогрессивных мероприятий в области как внутренней, так и внешней политики. Её социальной базой являются профсоюзы, женские и молодёжные организации; имеется индивидуальное членство; высшим органом является федеральная конференция {Federal Conference}; тж. ALP)

    Australia and New Zealand. English-Russian dictionary of regional studies > Australian Labor Party

  • 16 Marshall, George

    1891-1975
       George Marshall es uno de los pioneros del viejo Hollywood. Actor, guionista y director desde mediados de los anos 10, su filmografia en el ultimo de los cometidos citados supera el centenar y medio de titulos, entre largometrajes y peliculas de una o dos bobinas. Toca todos los generos, pero parece sentirse mas a gusto en la comedia. No es de los realizadores cuyo recuerdo perdura, y si tenemos en cuenta unicamente los westerns, hay que decir que solo los tres primeros resultan destacables. Su contribucion a La conquista del Oeste es lo menos resenable de la pelicula. Hace gala, en ocasiones, de un sentido del humor algo burdo.
        Destry Rides Again (Arizona). 1939. 94 minutos. Blanco y Negro. Universal. Marlene Dietrich, James Stewart.
        When the Daltons Rode (Sendas siniestras). 1940. 80 minutos. Blanco y Negro. Universal. Randolph Scott, Kay Francis, Brian Donlevy, Broderick Crawford.
        Texas (Texas). 1941. 94 minutos. Blanco y Negro. Columbia. William Holden, Glenn Ford, Claire Trevor.
        Valley of the Sun (El valle del Sol). 1942. 84 minutos. Blanco y Negro. RKO. Lucille Ball, James Craig.
        Fancy Pants (El rey del Oeste). 1950. 92 minutos. Technicolor. Paramount. Bob Hope, Lucille Ball.
        The Savage (El salvaje). 1952. 95 minutos. Technicolor. Paramount. Charlton Heston, Susan Morrow.
        Red Garters. 1954. 90 minutos. Technicolor. Paramount. Rosemary Clooney, Jack Carson.
        Destry. 1955. 95 minutos. Technicolor. Universal. Audie Murphy, Mari Blanchard, Lyle Bettger.
        The Second Greatest Sex. 1955. 87 minutos. Technicolor. CinemaScope. Universal. Jeanne Crain, George Nader.
        Pillars of the Sky. 1956. 95 minutos. Technicolor. CinemaScope. Universal. Jeff Chandler, Dorothy Malone, Ward Bond.
        The Guns of Fort Petticoat. 1957. 82 minutos. Technicolor. Universal. Audie Murphy, Kathryn Grant, Hope Emerson.
        The Sheepman (Furia en el valle). 1958. 91 minutos. Metrocolor. CinemaScope. MGM. Glenn Ford, Shirley MacLaine.
        How the West Was Won (La conquista del Oeste) (co-d.: John Ford, Henry Hathaway).
        Episodio: The Railroad (El ferrocarril). 1962. 165 minutos (duracion total). Metrocolor. Super Cinerama. MGM. Richard Wid mark, George Peppard, Carroll Baker, Lee J. Cobb.
        Advance to the Rear (La furia de los cobardes). 1964. 97 minutos. Blanco y Negro. Panavision. MGM. Glenn Ford, Stella Stevens, Melvyn Douglas.

    English-Spanish dictionary of western films > Marshall, George

  • 17 Un Chapeau de paille d'Italie

       1927 - Франция (110 мин)
         Произв. Films Albatros (Александр Каменка)
         Реж. РЕНЕ КЛЕР
         Сцен. Рене Клер по одноименной комедии Эжена Лабиша и Марка Мишеля
         Опер. Морис Дефассио, Николя Рудаков
         Дек. Лазар Меерсон
         Кост. Сепле
         В ролях Альбер Прежан (Фадинар), Жеймон-Виталь (лейтенант Тавернье), Ольга Чехова (Анаис де Бопертюи), Жим Жеральд (Бопертюи), Ивоннек (Нопанкур), Луи Пре-сын (Бобен), Мариз Майа (Элен), Алис Тиссо (кузина), Валентина Тессье (клиентка модистки), Поль Оливье (дядюшка Везине), Шукетт (Клара).
       Париж, конец XIX в. В день своей свадьбы Фадинар спокойно едет по Венсанскому лесу на свидание с невестой, назначенное в их будущем семейном гнездышке. По дороге его лошадь съедает соломенную шляпку молодой женщины, проводящей этот погожий денек в обществе офицера, горячего и вспыльчивого лейтенанта Тавернье. Дальше Фадинара ждут одни неприятности. Выясняется, что красавица замужем, и Тавернье, ее любовник, требует, чтобы Фадинар раздобыл точно такую же шляпку, иначе муж может раскрыть их тайну. Фадинар вынужден немедленно броситься на поиски дурацкой шляпы. Для этого ему приходится весь день задерживать, останавливать, сбивать с пути кортеж приглашенных на свадьбу гостей, весьма озадаченных этим ожиданием и бесконечными разворотами.
       Заполучив от модистки адрес мадам Бопертюи, которой был недавно продан такой же головной убор, Фадинар направляется к упомянутой даме. Но застает дома лишь мужа и понимает, что Бопертюи - супруг той самой неверной красавицы и что именно эту шляпку съела его лошадь. Но провидение не дремлет, и Фадинар находит среди свадебных подарков соломенную шляпку, подаренную глухим как тетерев дядюшкой: точную копию той, что он искал. Остается только передать ее мадам Бопертюи - и дело в шляпе.
       ► «Шляпка из итальянской соломки» (1851), весьма нетипичная пьеса Лабиша и вершина его творчества, считается 1-й пьесой, основанной на гонке за каким-либо предметом. Решение взять этот материал за основу комедийного фильма (пусть даже в период немого кино) было бы вполне закономерным для французского режиссера. Сами ситуации могли бы загладить отсутствие диалогов. Увы, взялся за эту задачу Рене Клер. Не обладая ни одним из достоинств Лабиша, он иллюстрирует - и уродует - его сюжет последовательностью совершенно статичных сцен, ужасно повторяющихся и лишенных мало-мальской изобретательности в движениях и работе с актерами. Ни следа юмора или сатиры; ни единого намека на забавную, безумную и слегка абсурдную суматоху. Тщательно выполненные декорации (Лазара Меерсона) и костюмы, с едва уловимым привкусом сатиры, временами придают фильму облик симпатичной гравюры из журнала мод - и в этом его основное достоинство. С другой стороны, удивляет полная неспособность Рене Клера придать персонажам хоть какие-то индивидуальные черты. Приходится признать, что этот дутый шедевр так скучен, что сводит скулы.
       N.В. В 2 маленьких эпизодах, сновидческих и субъективных, в Рене Клере проглядывают некая смутная авторская оригинальность и стремление к сюрреализму. Эти сцены выбиваются из общей стилистики фильма. В 1-й Фадинар, находясь далеко от своей квартиры, воображает, какой погром в этот момент устраивает в ней Тавернье. То в замедленной, то в ускоренной съемке предметы мебели вылетают из окон или парадной двери. Затем обрушивается часть здания (этот кадр почти напоминает фильмы Бунюэля). Позднее, во флэшбеке, Фадинар пересказывает Бопертюи свои злоключения (те, что мы наблюдали в реальном времени в 1-й части фильма). Теперь он ведет рассказ, стоя на сцене перед расписанным холстом, в стиле набивших оскомину комедий того времени. Это - лучшая придумка во всем фильме. Подобные находки встречаются то и дело в фильмах Париж уснул, Paris qui dort, снят в 1923-м и вышел на экраны в 1925 г.; Призраке Мулен-Ружа, Le fantome du Moulin-Rouge, 1925 и Воображаемом путешествии, Le voyage imaginaire, 1926 и позволяют рассматривать немой период Рене Клера как самый интересный во всем его творчестве. Точно так же в картине Двое робких, Les deux timides, 1929 единственным художественным ходом стало изобретательное использование полиэкрана (когда экран делится на несколько участков пространства). В остальном же Двое робких— очень дурная экранизация Лабиша, превратившая великолепный жанровый этюд в немощную и пошлую комедию, к которой добавлены бурлескные и детективные повороты и ситуации, в лучшем случае - избыточные, в худшем - откровенно бредовые.
       В эпоху звукового кино «Шляпка из итальянской соломки» экранизировалась дважды: в Германии - Вольфгангом Либенаймером (Соломенная шляпка, Der Florentiner Hut, 1939), и во Франции - в чудовищной одноименной картине Мориса Каммажа (Un chapeau de paille d'Italie, 1940, выход на экраны - 1944). Двое робких были вновь без всякой фантазии экранизированы в 1941 г. Ивом Аллегре (под псевдонимом Ив Шамплен). Картина вышла на экраны в 1943 г. Существует также аргентинская версия: Парижская модель (Un modelo de Paris, 1946, Луис Байон Херрера - действие перенесено в современный Буэнос-Айрес, а шляпка - парижского фасона) (***).
       БИБЛИОГРАФИЯ: раскадровка опубликована в томе 55 серии «Классические киносценарии» (Classic Film Scripts, London, Lorrimer), а также в книге «Шедевры французского кинематографа» (Mastenworks of French Cinema, New York, Harper and Row, 1974) вместе с Великой иллюзией, La Grande illusion; Каруселью, La Ronde; Платой за страх, Le Salaire de la peur.
       ***
       --- Другой вариант названия - Соломенная шляпка.
       --- Русскому зрителю известна советская версия: Соломенная шляпка, Леонид Квинихидзе, 1975.

    Авторская энциклопедия фильмов Жака Лурселля > Un Chapeau de paille d'Italie

  • 18 Hangmen Also Die

       1943 - США (131 мин; часто встречается в сокр. виде)
         Произв. Arnold Productions (Арнолд Прессбёргер), прокат UA
         Реж. ФРИЦ ЛАНГ
         Сцен. Фриц Ланг, Бертольд Брехт, Джон Уэксли
         Опер. Джеймс Вонг Хау
         Муз. Ганс Айслер
         В ролях Брайан Донлеви (доктор Франц Свобода), Уолтер Бреннан (профессор Новотны), Анна Ли (Маша Новотны), Джин Локхарт (Эмиль Чака), Деннис О'Киф (Ян Горек), Александр Гранах (Алоис Грубер), Маргарет Уичерли (тетя Людмила Новотны), Нана Брайант (госпожа Новотны), Ганс фон Твардовски (Райнхард Гейдрих), Лайонел Стэндер (таксист), Райнхольд Шюнцель (инспектор Риттер).
       Прага, 1941 и 1942 гг. Доктор Свобода, боец Сопротивления, убивший Гейдриха, в комендантский час укрывается у дочки профессора истории Новотны Маши, которая однажды невольно помогла ему скрыться от гестаповцев, гнавшихся за ним на улице. В тот же вечер профессор Новотны схвачен как заложник, а вместе с ним - еще 400 жителей Праги. Девушка выдерживает несколько допросов, пока Свобода, наконец, лично не избавляет ее от дознавателей, выдав себя за ее любовника. На допросах Машу убеждают, что ее отец будет казнен, хотя на самом деле его имени нет в списке приговоренных. Несколько сотен заложников погибают, но в этот момент пивовар Эмиль Чака, ведущий двойную игру (он входит в Сопротивление и сотрудничает с гестапо), попадает в ловушку, расставленную соратниками по подполью. Однажды Чаку уже чуть было не сочли предателем, и спасло его лишь то, что он якобы не знал немецкого языка. Теперь же, на банкете в ресторане, гарсон рассказывает в его присутствии анекдот про Гитлера на немецком языке, и Чака покатывается со смеху. Через некоторое время участники Сопротивления и многие жители города дают показания, называя убийцей Гейдриха Чаку; у него же находят труп следователя из гестапо Грубера, убитого Яном Горском, женихом Маши. Чтобы сохранить хорошую мину, немецкие полицейские чины делают вид, будто поверили в виновность Чаки.
       ► Участие Брехта как сценариста привлекло особый интерес исследователей к этому фильму, сделанному без поддержки крупных студий независимым продюсером, старым знакомым Ланга. Сотрудничество Ланга и Брехта не принесло выдающихся результатов, зато было довольно неспокойным и закончилось ссорой, поскольку Лангу пришлось за неделю до съемок сократить слишком длинный сценарий как минимум наполовину. (В работе над сценарием принимал участие и 3-й человек - Джон Уэксли, выбранный потому, что знал и немецкий, и английский языки, ведь Брехт по-английски не говорил; это вылилось в конфликт Уэксли-Брехт, подогретый авторским соперничеством и спорами о порядке появления в титрах.) Как бы то ни было, сценарий Палачи тоже умирают (поначалу носивший названия «Доверие народу», «Пленных не брать», «Безмолвный город» - все они гораздо неудачнее итогового) далек от идеальной линейности или тонкой и умело проработанной изысканности лучших картин Ланга. Сюжет состоит из отдельных блоков, довольно негибких и слишком самостоятельных: введение и представление нацистских сановников; отношения Маши и Свободы; эпизоды с заложниками; устранение пивовара Чаки. Эти блоки соединены между собой в некое подобие единства, и вот тут фильм становится увлекательным и приобретает фирменные черты стиля Ланга. Связующими элементами выступают документальная достоверность, окружающая вымышленные события сюжета (который, напомним, был написан по горячим следам, сразу же после излагаемых событий), и главным образом - развитие центральной темы фильма (ловушки), которая также является одной из базовых фигур всего творчества Ланга.
       В фильме фигурируют 4 ловушки, причем раз от разу их масштабы и количество участников возрастают. Сначала Маша и Свобода расставляют исключительно «звуковую» западню дознавателям из гестапо, разыгрывая любовников в комнате, набитой микрофонами. Затем они вновь изображают застигнутых врасплох любовников в спальне, где прячется раненый боец Сопротивления, которого лечит Свобода. Пивовар Чака впервые попадает в ловушку, когда обнаруживает свое знание немецкого языка на банкете, где находится дюжина персонажей. Наконец, все пражское Сопротивление и немалое количество жителей города сговариваются, чтобы ложными показаниями выдать его за убийцу Гейдриха. Следует отметить, что все эти ловушки оказываются идеально эффективны и добиваются цели, однако при этом никто не остается в дураках. Следователь Грубер в конце концов разгадал первые две уловки, но его убили; да и немецким властям (см. шифровку в финале) прекрасно известно о заговоре против Чаки. (В данном случае ловушка оказывается особенно сложной и особенно удачной, поскольку гестапо, сознавая, что речь идет о подставе, не может объявить об этом в открытую и вынуждено вступить в игру.) Ланг постарался вывести нацистов чудовищами, зверями, мучителями, но не идиотами. Такой взгляд только усиливает напряжение, угрозу, предостережение, которое фильм был призван нести американской публике тех лет, когда нацисты еще действовали вовсю. Вовлекая в свою орбиту все население Праги, абстрактная фигура ловушки приобретает в этом фильме эпические размеры, положительное и освобождающее значение, что весьма необычно для творчества Ланга. Эволюция этой фигуры не только со всей очевидностью доказывает, что Ланг, как и всегда, полностью владеет материалом (с точки зрения концепции, построения и изобразительных средств), она еще и свидетельствует о желании режиссера превратить довольно хаотичную и временами литературную конструкцию в чистый боевик. По мнению Ланга, нацизм следует обличать без лишних слов в линейном сюжете, где бы описание привычек и жестов персонажей, оценка их самих и их мотивов не только мешали драматургическому развитию, но, наоборот, питали его и придавали ему незабываемую насыщенность. Для Ланга фильм не будет удавшимся, каковы бы ни были его цели или сколь бы глубока ни была главная мысль, если в нем не окажется плотного действия, неумолимого и постоянного драматургического движения, свойственного приключенческому роману. Сцена, где герой Уолтера Бреннана перед казнью пересказывает дочери письмо к молодому сыну, служит исключением из этого правила, но от этого не становится менее прекрасной. Авторство этой сцены, как и большинства реплик, вложенных в уста профессора Новотны, вероятно, следует приписать Брехту.
       БИБЛИОГРАФИЯ: интервью и документальные свидетельства в журнале «Film Kritik». Мюнхен, № 223, июль 1975 г. (номер целиком посвящен фильму). Bertolt Brecht. Journal de travail, L'Arche, 1976; James K. Lyon, Bertolt Brecht in America, Princeton University Press, 1980; Lotte H. Eisner, Fritz Lang, Gahiers du cinema - Editions de L'Etoile - Cinematheque Francaise, 1981 (глава 8),

    Авторская энциклопедия фильмов Жака Лурселля > Hangmen Also Die

  • 19 Malombra

       1942 – Италия (135 мин)
         Произв. Lux (Дино де Лаурентис)
         Реж. МАРИО СОЛЬДАГИ
         Сцен. Марио Бонфантини, Ренато Кастеллани, Этторе М. Маргадонна, Тино Рикельми, Марио Сольдати по одноименному роману Антонио Фогаццаро
         Опер. Массимо Терцано
         Муз. Джузеппе Розати
         В ролях Иза Миранда (Марина ди Маломбра), Андреа Чекки (Коррадо Силла), Иразема Дилиан (Эдит), Гвальтьеро Тумиати (граф Чезаре д'Орменго), Нино Крисман (Непо Сальвадор), Энцо Бильотти (Вецца), Ада Дондини (Фоска Сальвадор).
       Молодая маркиза Марина ди Маломбра, безденежная сирота, живет у своего дяди – брата матери, графа Чезаре д'Орменго – во дворце на берегу озера и покинуть замок может только после свадьбы. В своей комнате Марина обнаруживает прядь волос, перчатку, булавку и рукопись, ранее принадлежавшие графине Чечилии, прабабке Марины, которую ревнивый муж держал в заточении, чтобы вытянуть из нее признание в измене. Рукопись, а также роман о переселении душ под названием «Призраки прошлого» производят огромное впечатление на Марину, и та воображает, будто Чечилия воплотилась в ней и требует мщения. Марине кажется, будто се дядя – реинкарнация мужа Чечилии; она подозревает, что в теле молодого Коррадо Силлы, секретаря ее дяди и анонимного автора «Призраков прошлого», живет душа любовника Чечилии. Коррадо неожиданно уезжает из дворца в Милан: он так очарован красотой маркизы, что боится влюбиться в нее. Марина не скрывает враждебности к своему кузену Непо Сальвадору, приехавшему вместе с матерью в надежде сосватать Марину и завоевать признательность ее дяди. Получив срочную телеграмму, Коррадо возвращается во дворец и обнаруживает, что граф серьезно болен. В спальню умирающего, где все собрались для молитвы, врывается Марина и в бреду выкрикивает неясные угрозы. После смерти графа большая часть его имущества по завещанию отходит больнице. Семья Сальвадоров разочарована и пакует чемоданы. Марина приказывает приготовить ужин в память покойного; ужин оборачивается трагедией: когда на пиру появляется Коррадо, маркиза стреляет в него. В поднявшейся панике она исчезает, отправившись на лодке искать смерти в заливе Маломбра, подобно Чечилии.
       ►  После Старомодного мирка, Piccolo mondo antico, 1941, но до Даниэле Кортис, Daniele Cortis, 1947, это ― 2-я экранизация Антонио Фогаццаро (1842―1911), снятая Марио Сольдати. «Маломбра» был 1-м опубликованным романом писателя (1881), и его экранизация стала, несомненно, важнейшим фильмом итальянского каллиграфизма. Это формалистское по сути движение, зародившееся в годы фашизма, обладает необыкновенной эстетической цельностью, которая проявляется и на политическом, и на нравственном уровне. В своем лучшем и самом совершенном виде это направление выражает тайную враждебность к окружающей социальной и политической реальности, у которой оно пытается взять своеобразный эстетический реванш. Не имея возможности касаться актуальных тем и проявлять малейшую критику реалий настоящего времени, некоторые режиссеры, вроде Сольдати и Кастеллани, укрылись в рассказах о прошлом. И чем удушливее, клаустрофобичнее было это прошлое, тем больше оно их устраивало. Их фильмы были сознательно отмечены знаком смерти. Как своими изобразительными достоинствами, нацеленными на неподвижное, словно окаменевшее отображение внешнего мира, так и склонностью к прилежной экранизации старых литературных произведений (как будто время остановилось, а вместе с этим исчезла всякая возможность придумывать новые темы), эти фильмы показывают персонажей, повернувшихся к жизни спиной, и рассказывают исключительно о застывших или проклятых местах, населенных затворниками, умирающими, изгоями, обреченными на пассивность. Маломбра, которую обстоятельства того времени вынуждают жить с дядей-инвалидом в отрезанном от мира поместье на берегу Лаго-Маджоре ― огромного озера, чья атмосфера давит на персонажей и ускоряет их агонию, ― доходит в своем одиночестве до того, что воображает, будто в ней воплотилась душа ее прабабки, которая также жила отшельницей. Мечтания Маломбры и фантазии о перемещении душ происходят оттого, что в ее жизни ничего не происходит. В другом времени она ищет подругу, соучастницу, которая напоминала бы се саму и оправдывала бы ее существование. Этот поиск неминуемо приведет ее к безумию, убийству и самоубийству. Сольдати описывает этот процесс на почти психоаналитическом уровне и в глубоко интимной и напряженной атмосфере; оба фактора делают картину современной. Реализм и фантастика смешиваются в ней, создавая увлекательный нездоровый мир, чье очарование угаснет не скоро. Конечно, чтобы насладиться им в полной мере, приходится терпеть мучительную медлительность ритма, застывшее время, неторопливую смерть, которые поглощают героиню, подобно спящей воде, где утонули и Чечилия, и Маломбра. Выбор натуры, операторская работа, ритм действия, актерская игра настолько цельны, что до сих пор представляют собой великолепный пример кинематографического мастерства. Напомним, что в главной роли Сольдати видел Алиду Валли (сыгравшую в Старомодном мирке). Режиссер долго не мог смириться с кандидатурой Изы Миранды, которой пришлось заменить Валли, и тем не менее эта роль стала знаковой и для ее карьеры, и для целой эпохи в истории итальянского кино – эпохи неутоленных желаний и бурного творчества.
       N.B. Впервые роман Фогаццаро был экранизирован в 1916 г. Кармине Галлоне с Лидой Борелли в роли Маломбры.
       БИБЛИОГРАФИЯ: многие участники работы над фильмом (Сольдати, Иза Миранда, сценаристы Ренато Кастеллани и Этторе М. Маргадонна, художник по костюмам Мария Де Маттеис, зав. постановочной частью Валентино Брозио) рассказывают о съемках в книге Франческо Савно «Тридцать лет студии Чинечитта» (Francesco Savio, Cinecitta anni trenta, 3 vol., Bulzoni Editore, Roma, 1975). Здесь собраны 116 интервью – целая сокровищница сведений об итальянском кинематографе того времени.

    Авторская энциклопедия фильмов Жака Лурселля > Malombra

  • 20 The Maltese Falcon

       1941 – США (100 мин)
         Произв. Warner (Хэл Б. Уоллис)
         Реж. ДЖОН ХЬЮСТОН
         Сцен. Джон Хьюстон по одноименному роману Дэшиэлла Хэмметта
         Опер. Артур Эдесон
         Муз. Адолф Дойч
         В ролях Хамфри Богарт (Сэм Спейд), Мэри Эстор (Бриджид О'Шоннесси), Петер Лорре (Джоэл Кэйро), Сидни Гринстрит (Каспер Гутман, «Толстяк»), Ли Патрик (Эффи Перин), Глэдис Джордж (Ива Арчер), Элайша Кук-мл. (Уилмер Кук), Бартон Маклейн (лейтенант полиции Данди), Уорд Бонд (Полхаус), Джером Коуэи (Майлз Арчер), Уолтер Хьюстон (капитан Джейкоби).
       Частный детектив Сэм Спейд работает с напарником Майлзом Арчером в Сан-Франциско. Соблазнительная и загадочная молодая женщина приходит в его контору и умоляет найти ее сестру пропавшую вместе с неким Флойдом Тёрзби, человеком опасным и жестоким. В самом начале расследования Майлз Арчер, которому было поручено установить слежку за Тёрзби, погибает. Некоторое время спустя находят труп и самого Тёрзби. Полиция подозревает Спейда в обоих убийствах: 1-е он якобы совершил из ревности, будучи любовником жены своего напарника; 2-е – желая отомстить за смерть все того же напарника. 2 этих обвинения очевидно противоречат друг другу и вскоре оказываются отброшены.
       Спейд довольно быстро узнает, что настоящее имя его загадочной клиентки – Бриджид О'Шоннесси, а сама она – закоренелая лгунья. Она выдумала историю с сестрой, чтобы пустить Спейда по следам Тёрзби. Другой клиент, Джоэл Кейро, предлагает Спейду 5000 долларов за поиски статуэтки сокола, которой он приписывает немалую стоимость. Дважды за одну и ту же встречу он направляет пистолет на сыщика и заставляет его поднять руки и ждать, пока он не обыщет все помещение. В 1-й раз Спейд отнимает у него пистолет. Во 2-й раз лишь смеется над упрямством посетителя.
       Мисс О тоже ищет статуэтку: она полагает, что найдет ее в тайнике, куда ее спрятал Тёрзби. Из-за статуэтки мисс О и Джоэл Кейро дерутся. Чуть позже мисс О рассказывает Спейду, что в ее комнате кто-то рылся, и Спейд просит свою секретаршу ненадолго приютить мисс О у себя. Некий Каспер Гутман приглашает Спейда в свой гостиничный номер. Этот Гутман поручил слежку за детективом своему человеку по имени Уилмер, которого он, по своим же словам, любит как сына. Впрочем, следил Уилмер крайне неуклюже. Спейд узнает от Гутмана историю статуэтки, изготовленной в XVI в. из чистого золота и инкрустированной драгоценными камнями: это был подарок рыцарей Мальтийского ордена королю Карлу V. Долгие века она переходила из рук в руки; покрывающая ее черная эмаль скрывала от большинства владельцев ее подлинную ценность. Гутман – один из немногих, кому известен секрет. 17 лет он разыскивал статуэтку и наконец недавно обнаружил ее в Стамбуле, у бывшего русского генерала. Он поручил своим «агентам» добыть статуэтку.
       Слушая его рассказ, Спейд понимает, что его подпоили снотворным, и теряет сознание. Через несколько часов капитан корабля, сожженного в порту Сан-Франциско – без сомнения, стараниями Уилмера, пытающегося разыскать статуэтку, – приносит драгоценный предмет в контору Спейда. Капитан смертельно ранен и умирает, не успев ничего сказать. Спейд прячет сверток в камеру хранения и посылает номерок по почте своей секретарше Эффи Перин. Вскоре в его конторе собираются все охотники за соколом. Гутман обещает Спейду огромные деньги за статуэтку, и Спейд звонит секретарше и просит принести ему сверток. Увы, сокол оказывается поддельным. Гутман не вешает нос и говорит, что готов потратить еще год-два своей жизни на поиски статуэтки. После его ухода Спейд вынуждает мисс О признаться, что именно она убила Арчера и Тёрзби. Несмотря на то, что его по-прежнему влечет к ней, он сдает ее полиции.
       ► Режиссерский дебют Джона Хьюстона, прежде – талантливого сценариста, автора 12 сценариев, из которых в абсолютном большинстве случаев получились увлекательные картины, снятые Эдвардом Л. Капом, Флори, Уайлером, Дитерле, Уолшем, Хоуксом и т. д. В 1-е же дни проката Мальтийский сокол имел огромный успех, который ничуть не угас за последующие десятилетия. Почти всем своим участникам фильм принес огромную популярность.
       Не лишним будет напомнить, что это 3-я экранизация романа Дэшиэлла Хэмметта, выпущенная студией «Warner». Сравнение этого фильма с 1-й версией помогает точнее определить вклад Хьюстона и природу его работы. Первый Мальтийский сокол снят в 1931 г. Роем Дель Рутом с Рикардо Кортесом в роли Сэма Спейда. Сюжет, за небольшими исключениями, близок тому, что возьмет за основу Хьюстон (даже намеки на так называемую «отеческую дружбу» между Гутманом и Уилмером содержатся уже в 1-м фильме). Однако Хьюстон придаст каждой роли выразительность, блеск, сочность и юмор, бесконечно превосходящие 1-ю версию (хотя актерская работа Биби Дэниэлз уже наметила очертания роли Мэри Эстор). Так что совершенно напрасно в 50-е гг. некоторые упрекали Хьюстона в том, что он зря замахнулся на режиссуру вместо того, чтобы оставаться блестящим сценаристом.
       Уже из его дебюта становится ясно, что Хьюстона гораздо больше интересуют атмосфера, декорации, персонажи и актеры, нежели механика самого действия (которая у него ближе к фабуле Хэмметта, чем в фильме 1931 г.); и эта черта будет только усиливаться в дальнейшем. В Мальтийском соколе № 3 – при том, что его сюжет можно назвать мрачным, камерным и многословным (конечно же хьюстоновская версия – самая болтливая из трех) – весь блеск и сила исходят от выбора актеров и тонкой и изобретательной работы с ними. Например, в перерывах между дублями Хьюстон заставляет Мэри Эстор совершать пробежки, чтобы добиться от нее сбивчивой, беспокойной и умоляющей интонации в голосе. В роли, отвергнутой Джорджем Рафтом (который раньше уже отказался от роли в Высокой Сьерре, High Sierra), Богарт становится подлинным героем Хьюстона – или героем в общем смысле слова, после множества злодеев, которых ему довелось играть прежде. Его персонаж – жесткий, ироничный, лишенный иллюзий, но не такой продажный циник, каким хочет казаться, – хоть и живет в беспокойном и материалистическом мире, однако мораль на его стороне: или, вернее, он со скромностью и изяществом выступает на стороне морали. Весь фильм, как и роман, построен с его точки зрения, и его персонаж присутствует в каждой сцене (кроме сцены убийства его напарника). Элайша Кук создает незабываемый типаж, а дуэт Петера Лорре и Сидни Гринстрита (театрального актера, для которого этот фильм стал дебютом в кино) настолько искрометен, что оба актера снялись позднее вместе еще в 7 фильмах (среди них – Касабланка, Casablanca, и Маска Димитриоса, The Mask of Dimitrios). Намеки на гомосексуальность всей троицы у Хьюстона более отчетливы, чем у Роя Дель Рута.
       Уже в 1-м фильме Хьюстона поддельная статуэтка заводит мотив поражения, который будет периодически возникать во всем его творчестве. Чтобы дать характеристику столь желанному предмету, Хьюстон ставит финальной репликой цитату из Шекспира, которой не было у Хэмметта. «Из чего она сделана?» – спрашивает полицейский в исполнении Уорда Бонда, указывая на статуэтку. «Из вещества того же, что наши сны», – отвечает Богарт.
       N.В. 2-я экранизация романа Хэмметта – Сатана встретил женщину (Satan Met a Lady, 1936) Вильгельма Дитерле – запутанная и потешная комедия, выполненная довольно старательно и более близкая по духу фильмам вроде Мышьяк и старинные кружева, Arsenic and Old Lace, 1944, Фрэнк Капра, чем версиям Дель Рута и Хьюстона. Уоррен Уильям в роли Спейда выглядит эдаким недо-Кэри Грэнтом, а главную героиню играет Бетти Дэйвис, которая, между прочим, была бы совершенно на своем месте в фильме Хьюстона. Сделана попытка «проветрить» сюжет (действие выносится из четырех стен то на кладбище, то на пристань и т. д.), а сокол превратился в сигнальный горн. В 1975 г. на свет появилось продолжение фильма, заслужившее катастрофическую репутацию, – Черная птица, The Black Bird Дэйвида Гилера. Джордж Сигал играет Сэма Спейда-мл.; 2 актера из фильма Хьюстона – Ли Патрик и Элайша Кук – вновь играют своих персонажей. В 1946 г. Лотар Мендес снимает свой последний фильм – пиратскую вариацию на тему Мальтийского сокола под названием Стены рассыпались в прах, The Walls Came Tumbling Down с набором шуток для посвященных и аллюзий на картину Хьюстона. Впрочем, существует множество фильмов, так или иначе ссылающихся па актерскую работу Богарта в фильме Хьюстона; среди них – Дешевый детектив, The Cheap Detective, 1978, Роберта Мура с Питером Фалком и Мертвые не носят шотландку, Dead Men Don't Wear Plaid, 1982, Карла Райнера со Стивом Мартином. Наконец, напомним, что, желая принести удачу своему сыну и его режиссерскому дебюту, знаменитый актер Уолтер Хьюстон практически инкогнито сыграл крохотную роль умирающего капитана, который приносит статуэтку сокола в контору Спейда. Джон Хьюстон «отблагодарил» отца, убедив его в том, что продюсер Хэл Уоллис был страшно недоволен его ролью, и потребовал переснять сцену заново.
       БИБЛИОГРАФИЯ: Mary Astor, a Life on Film, Delacorte Press, New York, 1967, переиздание ― Dell Book, 1972. Актриса высоко ценит сценарий Хьюстона, долгую подготовку к съемкам и время, потраченное на репетиции, приписывая этим факторам решающую роль в итоговом качестве фильма.
       Мышьяк и старые кружева (1944)

    Авторская энциклопедия фильмов Жака Лурселля > The Maltese Falcon

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  • 1941 NSWRFL season — Teams 8 Premiers St. George (1st title) Minor premiers …   Wikipedia

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  • 1975 Copa América — Tournament details Dates July 17 October 28 Teams 10 (from 1 confederation) Final positions Champions …   Wikipedia

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  • 1941 en hockey — sur glace Années : 1938 1939 1940  1941  1942 1943 1944 Décennies : 1910 1920 1930  1940  1950 1960 1970 Siècles : XIXe siècle …   Wikipédia en Français

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