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While many in attendance noted the wide range of topics in the speech, several applauded the quality of the text...

Author: By Jerome Mccluskey, | Title: Faculty Advise Clinton | 1/24/1996 | See Source »

...observations on statements by Melinda T. Koyanis, Copyright-and-Permissions Manager of the Harvard Press ("Hot Type," Chronicle of Higher Education, November 17). Koyanis asserts that "authorizing" an anthology such as my Poetic Work of Emily Dickinson, a text "based on one person's variant typographic interpretation of the poetry, aimed at a general reader, was not in the best interest of preserving or presenting the integrity of the Dickinson work...

Author: NO WRITER ATTRIBUTED | Title: University Press Unfair to Opus | 1/24/1996 | See Source »

While Koyanis uses my way of characterizing my project--a typographic interpretation--she neglects to apply its sense consistently. Harvard's forthcoming variorum typographic text is also based on "one person's" (Ralph Franklin's) construal of the holographs and related material. Moreover, to describe my version of selected poems as a variant typographic interpretation implies that it is somehow a deviation from a standard or authoritative typographic interpretation of Dickinson's work. The point of producing my collection was to offer a more satisfactory printed rendering of selected poems than is found in the currently standard typographic versions produced...

Author: NO WRITER ATTRIBUTED | Title: University Press Unfair to Opus | 1/24/1996 | See Source »

Buried Child, Sam Shepard's Pulitzer Prize-winning play about a tragic, warped American family, is a disturbing text, even in this newly revised form. And Marcus Stern's production, full of bizarre, haunting sounds and images, is fantastic theater. However, it isn't entirely clear that Stern's production and Shepherd's text have all that much to do with one another...

Author: By Theodore K. Gideonse, | Title: Stern's Uneven Genius Can't Rescue Buried Child | 1/17/1996 | See Source »

...most part, Allison Koturbash's striking set design and John Ambrosone's gorgeous lighting work perfectly with the text. All of the action takes place in Dodge and Halie's open, spare, white living room. The stage is tilted and slopes toward the audience, creating the uncomfortable sense that the actors, at any minute, may fall into the empty orchestra pit. The sheer size of the steep, imposing staircase that looms in the background makes it seem to have much more to do with the action of the play than it actually does. But it looks great nonetheless, especially when...

Author: By Theodore K. Gideonse, | Title: Stern's Uneven Genius Can't Rescue Buried Child | 1/17/1996 | See Source »

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