Hear Michel Foucault Deliver His Lecture on “Truth and Subjectivity” at UC Berkeley, In English (1980)

Michel Fou­cault first arrived at the Uni­ver­si­ty of Cal­i­for­nia, Berke­ley in 1975. By this time, he was already a celebri­ty in France. He had just pub­lished his enor­mous­ly influ­en­tial his­to­ry and cri­tique of the penal sys­tem, Dis­ci­pline and Pun­ish, and he occu­pied a posi­tion at the pres­ti­gious Col­lège de France as chair in the “his­to­ry of sys­tems of thought,” a posi­tion he cre­at­ed for him­self. But when he arrived on the West Coast, writes Mar­cus Wohlsen, “few at Berke­ley had heard of Michel Fou­cault.” Leo Bersani, then chair­man of the French depart­ment, even had to call phi­los­o­phy pro­fes­sor Hubert Drey­fus to help “come and fill out the ranks” for Foucault’s lec­tures.

After the pub­li­ca­tion of vol­ume one of The His­to­ry of Sex­u­al­i­ty, Fou­cault would return to Berke­ley in the fall of 1979, then again in 1980. By then, the scene had changed dra­mat­i­cal­ly. Fou­cault was invit­ed to deliv­er the How­i­son Lec­ture that year, a dis­tin­guished invi­ta­tion pre­vi­ous­ly extend­ed to such thinkers as John Dewey, Willard V.O. Quine and, the year pre­vi­ous, John Rawls. By this time, Wohlsen writes, Fou­cault was, reluc­tant­ly, “an inter­na­tion­al aca­d­e­m­ic super­star.” Fill­ing the hall for his lec­tures would not be an issue. In fact, Wohlsen tells us,

Crowds crammed the 2,000-seat Zeller­bach Hall so quick­ly that police had to bar the doors. Fou­cault fans milled around rest­less­ly out­side until [phi­los­o­phy pro­fes­sor Hans] Slu­ga arranged for a live broad­cast of the letures to Wheel­er Hall. Its 760 seats filled almost imme­di­ate­ly.

Accord­ing to Slu­ga, Fou­cault, increas­ing­ly wary of his fame, inten­tion­al­ly titled his lecture—“Truth and Sub­jec­tiv­i­ty: the Sto­ic Prac­tice of Self Examination”—to sound “learned, abstract, remote” in order to deter a large crowd. That ploy clear­ly failed.

In the first part of the lec­ture (at top), the pre­sen­ter who intro­duces Fou­cault begins by ges­tur­ing to the philosopher’s fame, then com­ments that Foucault’s promi­nent post at the Col­lège de France was “very para­dox­i­cal, since Michel Fou­cault, although pres­ti­gious, is not a typ­i­cal kind of aca­d­e­m­ic. He is sus­pi­cious of all titles and claims to dis­in­ter­est­ed truth that has been [sic] asso­ci­at­ed with acad­e­mia.” After men­tion­ing Foucault’s fierce crit­i­cism of every his­tor­i­cal assump­tion and method­ol­o­gy (he was a guest of the His­to­ry and French Depart­ments), he breaks off his remarks to note that “there’s a mob of peo­ple all around, try­ing to get in.”

Fou­cault begins his lec­ture in French (at 8:08), then switch­es to Eng­lish for the remain­der (at 9:18). He quotes from a his­tor­i­cal French psychiatrist’s account of a “cure” involv­ing an “inter­ro­ga­tion” and a coerced con­fes­sion of mad­ness. Fou­cault calls this one among many exam­ples of “truth ther­a­pies,” and it serves—as do such vivid­ly spe­cif­ic archival exam­ples in his books—as a har­row­ing intro­duc­tion to the polic­ing of capital‑T Truth that is the essence of the human­ist enter­prise.

Despite the often pro­found­ly unset­tling nature of his inves­ti­ga­tions, and his attempt to scare off the crowd, Fou­cault is not dour or bor­ing, nor does he seem at all unap­proach­able or for­bid­ding. He is patient and self-dep­re­cat­ing­ly fun­ny: in a cut­ting, rue­ful ref­er­ence to the grow­ing dom­i­nance of ana­lyt­ic phi­los­o­phy in British and Amer­i­can uni­ver­si­ties, he says, “I con­fess, with the appro­pri­ate cha­grin, that I am not an ana­lyt­i­cal philoso­pher. Nobody is per­fect.” Then he sums up his project suc­cinct­ly: “I have tried to explore anoth­er direc­tion. I have tried to get from a phi­los­o­phy of sub­jec­tiv­i­ty to a geneal­o­gy of the sub­ject.”

Fou­cault is a very charm­ing speak­er, sprin­kling his lec­ture with lit­tle jokes like “It goes with­out say­ing… but it goes bet­ter with say­ing…” and drop­ping in Amer­i­can­isms like “Mon­day morn­ing quar­ter­back­ing,” to the amuse­ment of the crowd. He shows him­self to be very much aware of his audience—these are deeply seri­ous lec­tures, with­out a doubt, but Fou­cault nev­er for­gets that he’s fac­ing liv­ing human beings, with their own domains of knowl­edge and subjectivities—and he seeks to reach them where they are while report­ing on his dis­turb­ing dis­cov­er­ies as an archae­ol­o­gist of West­ern human­ist dis­course.

Fou­cault returned to Berke­ley again as a vis­it­ing pro­fes­sor in 1981 and again 1983, the year before his death. Alain Beaulieu, who has cat­a­logued Foucault’s Berke­ley archives, described his time in Cal­i­for­nia as hap­py and pro­duc­tive, “while he remain[ed] crit­i­cal of some fea­tures asso­ci­at­ed with the ‘Cal­i­forn­ian cult of the self.’” In fact, “Cult of the Self” was the title of three lec­tures Fou­cault deliv­ered at Berke­ley in 1983 (lis­ten here), along with six lec­tures on “Dis­course and Truth.” Dur­ing his time at Berke­ley in 1980, when he deliv­ered the lec­ture above, grad­u­ate stu­dent Michael Bess inter­viewed the philoso­pher. Fou­cault spoke plain­ly and pas­sion­ate­ly about the impe­tus for his relent­less cri­tiques of insti­tu­tion­al pow­er and knowl­edge:

In a sense, I am a moral­ist, inso­far as I believe that one of the tasks, one of the mean­ings of human existence—the source of human freedom—is nev­er to accept any­thing as defin­i­tive, untouch­able, obvi­ous, or immo­bile. No aspect of real­i­ty should be allowed to become a defin­i­tive and inhu­man law for us.

We have to rise up against all forms of power—but not just pow­er in the nar­row sense of the word, refer­ring to the pow­er of a gov­ern­ment or of one social group over anoth­er: these are only a few par­tic­u­lar instances of pow­er.

Pow­er is any­thing that tends to ren­der immo­bile and untouch­able those things that are offered to us as real, as true, as good.

Read the com­plete inter­view, first pub­lished in the Novem­ber 10, 1980 Dai­ly Cal­i­forn­ian, here.

Relat­ed Con­tent:

Michel Foucault’s Con­tro­ver­sial Life and Phi­los­o­phy Explored in a Reveal­ing 1993 Doc­u­men­tary

Clash of the Titans: Noam Chom­sky & Michel Fou­cault Debate Human Nature & Pow­er on Dutch TV, 1971

Down­load Free Cours­es from Famous Philoso­phers: From Bertrand Rus­sell to Michel Fou­cault

Michel Fou­cault: Free Lec­tures on Truth, Dis­course & The Self

90 Free Phi­los­o­phy Cours­es in our Col­lec­tion of 800 Free Cours­es Online

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

The New Yorker Launches a New Poetry Podcast: Listen to Robert Pinsky Reading Elizabeth Bishop

A quick fyi: The New York­er has just launched a new poet­ry pod­cast, and it’s intro­duced and host­ed by Paul Mul­doon, the Pulitzer Prize-win­ning poet who for­mer­ly taught poet­ry at Oxford. On The New York­er’s web site, Mul­doon writes:

I can’t be but thrilled at the prospect of the first of a series of New York­er Poet­ry Pod­casts. For decades, The New York­er has led the field of poet­ry in print jour­nal­ism. But the eye is not the only buy­er into, and ben­e­fi­cia­ry of, the poem. The ear has been in the poet­ry busi­ness for much longer, giv­en poetry’s ori­gins in the oral tra­di­tion. That’s why it’s par­tic­u­lar­ly appro­pri­ate for us to take this oppor­tu­ni­ty to fore­ground poet­ry as an aur­al expe­ri­ence.

He then explains the for­mat of the pod­cast. “Each pod­cast con­sists of a con­ver­sa­tion between myself and a guest poet. In each, the guest reads not only a poem of hers that has appeared in The New York­er but also intro­duces, and reads, a poem by anoth­er con­trib­u­tor to the mag­a­zine that she par­tic­u­lar­ly admires.”  The first episode fea­tures Philip Levine. Feel free to play it above.

You can sub­scribe to The Poet­ry pod­cast on iTunes, and it should even­tu­al­ly find a home (I’d imag­ine) on Sound­Cloud too. More poems read aloud can be found in our col­lec­tion of Free Audio Books.

Relat­ed Con­tent:

The New Yorker’s Fic­tion Pod­cast: Where Great Writ­ers Read Sto­ries by Great Writ­ers

Hear the Very First Record­ing of Allen Gins­berg Read­ing His Epic Poem “Howl” (1956)

Bill Mur­ray Reads Poet­ry at a Con­struc­tion Site

Hear Sylvia Plath Read Fif­teen Poems From Her Final Col­lec­tion, Ariel, in 1962 Record­ing

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Teacher Helps His Student Overcome Stuttering and Read Poetry, Using the Sound of Music

Musharaf Asghar, a stu­dent at Thorn­hill Acad­e­my in north­east Eng­land, over­came an acute stam­mer when his teacher, Matthew Bur­ton, bor­rowed an idea from The King’s Speech. The teacher asked his stu­dent to put on some head­phones play­ing the music of Ben Howard, and to start recit­ing a poem called ‘The Moment.’ Sud­den­ly, for the first time, the words began to flow. All of this was cap­tured in a doc­u­men­tary series, Edu­cat­ing York­shire, that aired on the BBC. The seg­ment above con­cludes with Mushy, as he’s known, giv­ing a short talk in front of his class, at what looks like a grad­u­a­tion cer­e­mo­ny. It did­n’t take long for his fel­low stu­dents to break down in tears.

Writ­ing recent­ly in The Guardian, the stu­dent recalls. “My nerves over speak­ing in assem­bly were TERRIBLE though. I did­n’t realise how big 200 peo­ple looks like. I was sweat­ing and I had a lit­tle wob­ble but even­tu­al­ly, I man­aged to get through it. I was excit­ed, if ner­vous, about the whole thing going out. But I’m real­ly hap­py and proud to be on tel­ly as I hope it gives oth­er peo­ple with a stam­mer the con­fi­dence to have a go at pub­lic speak­ing. My speech is get­ting bet­ter every week. Every­one at col­lege gives me time, but I’m get­ting quick­er any­way so they don’t miss their bus while they are lis­ten­ing to me. I still won’t be apply­ing for any call-cen­tre jobs yet though.” Find more infor­ma­tion on how music ther­a­py can help peo­ple over­come stut­ter­ing here.

Don’t miss any­thing from Open Cul­ture. Sign up for our Dai­ly Email or RSS Feed. And we’ll send qual­i­ty cul­ture your way, every day.

via @courosa

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Watch Three Films by the Immensely Prolific & Widely-Admired “B‑Movie” Filmmaker, Roger Corman

I just caught a clever dou­ble-bill: Going Attrac­tions, April Wright’s doc­u­men­tary on the his­to­ry and future of the Amer­i­can dri­ve-in movie the­ater, and Demen­tia 13, Fran­cis Ford Cop­po­la’s 1963 dri­ve-in-geared fea­ture debut (pre­vi­ous­ly fea­tured here on Open Cul­ture). Going Attrac­tions fea­tures a good deal of com­men­tary from Roger Cor­man, the inter­na­tion­al­ly respect­ed and immense­ly pro­lif­ic film­mak­er whose career has defined the very con­cept of the high-qual­i­ty “B‑movie.” In fact, so Wright revealed at the Q&A, Cor­man nev­er went to dri­ve-ins him­self, so appalling did he find their sub­stan­dard audio­vi­su­al pre­sen­ta­tions of his pic­tures, made cheap­ly but not with­out painstak­ing efforts to look and sound expen­sive. Still work­ing after over 50 films to his cred­it as direc­tor and near­ly 400 as pro­duc­er, the Detroit-born, Oxford-edu­cat­ed, Los Ange­les-based Cor­man, as well as mak­ing such revival-house clas­sics as Soror­i­ty Girl, The Wild Angels, and sev­er­al not­ed adap­ta­tions of Edgar Allan Poe, launched the careers of not just Cop­po­la but oth­er auteurs like Mar­tin Scors­ese (Box­car Bertha, 1972), Monte Hell­man (Beast from Haunt­ed Cave, 1959), and Peter Bog­danovich (Voy­age to the Plan­et of Pre­his­toric Women, 1968).

Cor­man also worked with actors now as famous as they come, as in 1960’s Lit­tle Shop of Hor­rors at the top, which fea­tures a young Jack Nichol­son. 1962’s The Intrud­er, just above, stars William Shat­ner in a sto­ry that con­fronts racism with a frank­ness unchar­ac­ter­is­tic of that era. 1963’s The Ter­ror, below, brings back Nichol­son, team­ing him with San­dra Knight and Boris Karloff. Accord­ing to a 1967 pro­file by Roger Ebert, Cor­man “shot all of Karlof­f’s scenes in two days to save on the pay­roll. Then when he got into the cut­ting room with his film, he real­ized to his hor­ror that his hor­ror film made no sense. Karloff was gone. What to do? Cor­man called in two of the bit play­ers, shot them in close-up (the sets had already been torn down or had fall­en down), and had one ask the oth­er: ‘Now tell me what all this means.’ And then the oth­er one did. Along the way, work­ing quick­ly and impro­vis­ing a lot of his scenes, Cor­man devel­oped a dis­tinc­tive, per­son­al style with­out think­ing much about it.” Yet such seem­ing­ly laugh­able tech­niques have served the man well: he titled his auto­bi­og­ra­phy How I Made a Hun­dred Movies in Hol­ly­wood and Nev­er Lost a Dime. What film­mak­er at any lev­el of crit­i­cal regard can say the same? You can find Cor­man’s films in our col­lec­tion, 4,000+ Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, Doc­u­men­taries & More.

Relat­ed Con­tent:

Demen­tia 13: The Film That Took Fran­cis Ford Cop­po­la From Schlock­ster to Auteur

Tro­ma Enter­tain­ment, the Mak­er of Acclaimed B‑Movies, Puts 150 Free Films on YouTube

Ed Wood’s Plan 9 From Out­er Space: “The Worst Movie Ever Made,” “The Ulti­mate Cult Flick,” or Both?

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on cities, Asia, film, lit­er­a­ture, and aes­thet­ics. He’s at work on a book about Los Ange­les, A Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall or on his brand new Face­book page.

The Power of Empathy: A Quick Animated Lesson That Can Make You a Better Person

Sev­er­al years back, the RSA (Roy­al Soci­ety of the Arts) cre­at­ed a series of dis­tinc­tive ani­mat­ed shorts where heavy-hit­ter intel­lec­tu­als pre­sent­ed big ideas, and a tal­ent­ed artist rapid­ly illus­trat­ed them on a white­board. Some of those talks fea­tured the likes of Slavoj Zizek, Steven Pinker and Bar­bara Ehren­re­ich. Now RSA presents a new video series cre­at­ed in an entire­ly dif­fer­ent aes­thet­ic. Above, you can watch what will hope­ful­ly be the first of many “espres­so shots for the mind.” This clip fea­tures Dr. Brené Brown, a research pro­fes­sor at the Uni­ver­si­ty of Hous­ton Grad­u­ate Col­lege of Social Work, pro­vid­ing some quick insights into the dif­fer­ence between sym­pa­thy and empa­thy, and explain­ing why empa­thy is much more mean­ing­ful. To learn more about The Pow­er of Empa­thy, you can watch Brown’s com­plete RSA lec­ture here. You can also watch her very pop­u­lar TED Talk on The Pow­er of Vul­ner­a­bil­i­ty here.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed Con­tent:

Free Online Psy­chol­o­gy Cours­es (Part of our list of Free Online Cours­es)

Carl Gus­tav Jung Explains His Ground­break­ing The­o­ries About Psy­chol­o­gy in Rare Inter­view (1957)

Jacques Lacan’s Con­fronta­tion with a Young Rebel: Clas­sic Moment, 1972

New Ani­ma­tion Explains Sher­ry Turkle’s The­o­ries on Why Social Media Makes Us Lone­ly

 

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Listen to the 1963 Song the Beatles Gave to the Stones; Then Hear Them Sing Backup on a 1967 Stones Tune, “We Love You”

After read­ing some of the ency­clo­pe­dic com­ments on this NPR site fea­tur­ing author and pro­fes­sor John McMil­lian—who has writ­ten a new book on The Bea­t­les vs. The Stones—and after hear­ing McMil­lan him­self tell his “reveal­ing, behind the scenes sto­ries” in the inter­view below, I’m fair­ly cer­tain we’re in good his­tor­i­cal hands for a reap­praisal of the two bands’ friend­ly rival­ry. McMil­lan dis­cuss­es their first meet­ing and ear­li­est col­lab­o­ra­tion, the track above, 1963’s “I Wan­na Be Your Man,” writ­ten by, and cred­it­ed to, John Lennon and Paul McCart­ney.

The song was the result of a chance encounter, we learn from Stones his­to­ri­an Bill Janowitz: “[Stones man­ag­er Andrew Loog] Old­ham had almost lit­er­al­ly bumped into Lennon and McCart­ney as they stepped out of a cab.” Old­ham brought The Bea­t­les into the stu­dio and the song was born from a McCart­ney frag­ment. The Stones had to this point only released Amer­i­can R&B or blues cov­ers, though they also turned this track into a bluesy stom­per. Hear The Bea­t­les decid­ed­ly less grit­ty ver­sion of the song below, over a mon­tage of their ear­ly six­ties British com­e­dy act that the Mon­kees stole so well. They released this three weeks lat­er, giv­ing the lead vocal to Ringo.

Despite Tom Wolfe’s quip that “The Bea­t­les want to hold your hand but the Stones want to burn down your town,” the ear­ly six­ties ver­sions of both bands looked very much alike. Until the late six­ties, the Stones were often a step behind The Bea­t­les’ image. They appear on the cov­er of 1965’s Out of My Head in mod­ish dress with mod­ish hair­cuts look­ing almost exact­ly like their coun­ter­parts. 1967’s Their Satan­ic Majesties Request, for its occa­sion­al beau­ty, was an obvi­ous and slight­ly ridicu­lous attempt to cap­i­tal­ize on Sgt. Pepper’s psy­che­del­ic suc­cess.

But even dur­ing those times, the bands diverged sharply in musi­cal terms, and the Stones’ path led in a dark­er direc­tion. The bud­ding image of the band as arson­ists may have con­tributed to their tar­get­ing by the author­i­ties. After a 1967 drug bust, Lennon and McCart­ney came to their aid, then sang (uncred­it­ed) back­ing vocals for the Stones track “We Love You,” a song writ­ten to the band’s ded­i­cat­ed fans and to The Bea­t­les. Pur­port­ed­ly, Allen Gins­berg sat in on the ses­sions. “They looked like lit­tle angels,“ he lat­er wrote, “like Bot­ti­cel­li Graces singing togeth­er for the first time.”

Relat­ed Con­tent:

Watch the Rolling Stones Write “Sym­pa­thy for the Dev­il”: A High­light in Godard’s ’68 Film One Plus One

Mick Jag­ger Tells the Sto­ry Behind ‘Gimme Shel­ter’ and Mer­ry Clayton’s Haunt­ing Back­ground Vocals

Mick Jag­ger Defends the Rights of the Indi­vid­ual After His Leg­endary 1967 Drug Bust

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

Quentin Tarantino Tells You About The Actors & Directors Who Provided the Inspiration for “Reservoir Dogs”

Quentin Taran­ti­no has nev­er been one to shy away from shar­ing his views on film­mak­ing with the pub­lic, and we’ve pre­vi­ous­ly writ­ten about his 2008 and 2012 lists of the great­est movies ever made. Even a casu­al com­par­i­son of his 2008 and 2012 picks, how­ev­er, shows that the one­time video store clerk’s tastes are liable to change over time. When mak­ing his direc­to­r­i­al debut with Reser­voir Dogs (1992), Taran­ti­no made anoth­er list; on the sec­ond page of the script, under a head­ing marked “Ded­i­cat­ed to:” Taran­ti­no enu­mer­at­ed the actors and direc­tors who had inspired him to make what Empire Mag­a­zine would rank the great­est inde­pen­dent film of all time.

reservoir dogs inspiration

In the video above, which was shot some years after Reser­voir Dogs’ release, Taran­ti­no revis­its this list and gives his lat­est thoughts on its con­stituents. Some are scarce­ly-remem­bered fig­ures, such as the king of ‘60s and ’70s mis­fit roles Tim­o­thy Carey whom Taran­ti­no wry­ly remem­bers treat­ing flat­u­lence “almost like a reli­gion.” Oth­ers include then obscure actors on their way to becom­ing inter­na­tion­al­ly-rec­og­nized names, such as Chow Yun Fat. Although Taran­ti­no ini­tial­ly saw some­thing effort­less­ly cool about Fat, rem­i­nis­cent of trench­coat-wear­ing French star Alain Delon, he claims to have since down­grad­ed his opin­ion of the Hong Kong actor. And don’t even get him start­ed on Jean-Luc Godard. For the full list accom­pa­nied by Tarantino’s col­or­ful com­men­tary, check out the video.

Ilia Blin­d­er­man is a Mon­tre­al-based cul­ture and sci­ence writer. Fol­low him at @iliablinderman.

Relat­ed Con­tent:

Quentin Tarantino’s Hand­writ­ten List of the 11 “Great­est Movies”

Quentin Taran­ti­no Lists the 12 Great­est Films of All Time: From Taxi Dri­ver to The Bad News Bears

Tarantino’s 10 Favorite Films of 2013

Quentin Taran­ti­no Lists His Favorite Films Since 1992

French Café Adds Extra Charge for Rude Customers

french-rude-cafe

A cou­ple of days ago, we high­light­ed a delight­ful­ly Illus­trat­ed Eti­quette Guide Explain­ing How to Ride the Paris Metro in a Civ­i­lized Way. It comes to you cour­tesy of the RATP, the gov­ern­ment orga­ni­za­tion that makes the sub­ways and trains run in Paris (some­times on time).

Let’s now head 600 miles south, to the Riv­iera city of Nice, where some café own­ers opt­ed for anoth­er way to keep bad behav­ior in check. At the Petite Syrah, they’ve imple­ment­ed a sim­ple pric­ing scheme that works like this:

If you ask for “a cof­fee” (it’s most like­ly an espres­so), it will run you 7 euros, or $9.50.

If you ask for a “cof­fee please,” the charge drops to €4.25/$5.80.

But if you start your order by say­ing “Hel­lo, may I have a cof­fee, please,” the bill becomes a man­age­able €1.40.

Now, truth be told, the pric­ing scheme is more car­rot than stick. The café’s man­ag­er read­i­ly admits that he has nev­er actu­al­ly charged any of the puni­tive high­er prices. But that’s not to say that the scheme does­n’t work. Accord­ing to manager/owner Fab­rice Pepino, reg­u­lar cus­tomers quick­ly took note of the sign and began to “say, ‘Hel­lo, your high­ness, will you serve me one of your beau­ti­ful cof­fees.” Eh voilà, no more cof­fee jerks.

via Kot­tke/The Local

Don’t miss any­thing from Open Cul­ture. Sign up for our Dai­ly Email orRSS Feed. And we’ll send qual­i­ty cul­ture your way, every day.

Relat­ed Con­tent:

Illus­trat­ed Eti­quette Guide Explains How to Ride the Paris Metro in a Civ­i­lized Way

Men In Com­mer­cials Being Jerks About Cof­fee: A Mashup of 1950s & 1960s TV Ads

The (Beau­ti­ful) Physics of Adding Cream to Your Cof­fee

Hon­oré de Balzac Writes About “The Plea­sures and Pains of Cof­fee,” and His Epic Cof­fee Addic­tion

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New Art Edition of James Joyce’s Ulysses Features All 265,000 Words Written by Hand on Big Wooden Poles

ulysses art book

This week, Stephen Gertz, the edi­tor of Book Tryst, has on dis­play an Incred­i­ble Art Edi­tion of James Joyce’s Ulysses. Here’s how he describes the ambi­tious project:

James Joyce com­plet­ed his nov­el, Ulysses, on Octo­ber 30, 1921. Nine­ty years lat­er, on Octo­ber 30, 2011, Char­lene Matthews, the Los Ange­les-based book artist and book­binder recent­ly the sub­ject of a pro­file in Stu­dios mag­a­zine, began work on an extra­or­di­nary edi­tion of the book, based upon Sylvia Beach’s true first edi­tion with all its typos includ­ed.

Two years lat­er, on Octo­ber 30, 2013, she com­plet­ed it: the entire text of Ulysses — all of its approx­i­mate­ly 265,000 words in eigh­teen episodes — tran­scribed by hand onto thir­ty-eight sev­en-foot tall, two-inch diam­e­ter poles: Ulysses as a land­scape to phys­i­cal­ly move through; the nov­el as lit­er­ary grove, Ulysses as trees of of life with lan­guage as fra­grant, hal­lu­ci­na­to­ry bark, and trunks reach­ing toward the sky.

Head over to Book­tryst to look over a gallery of images and learn more about Matthews’ grand under­tak­ing. And if you’d like a nice intro­duc­tion to Ulysses, please see some of the instruc­tive mate­r­i­al we’ve list­ed below.

Don’t miss any­thing from Open Cul­ture. Sign up for our Dai­ly Email orRSS Feed. And we’ll send qual­i­ty cul­ture your way, every day.

Relat­ed Con­tent:

James Joyce’s Ulysses: Down­load the Free Audio Book

Read Joyce’s Ulysses Line by Line, for the Next 22 Years, with Frank Delaney’s Pod­cast

Hear James Joyce Read a Pas­sage From Ulysses, 1924

The Very First Reviews of James Joyce’s Ulysses: “A Work of High Genius” (1922)

Vir­ginia Woolf Writes About Joyce’s Ulysses, “Nev­er Did Any Book So Bore Me,” and Quits at Page 200

Vladimir Nabokov Cre­ates a Hand-Drawn Map of James Joyce’s Ulysses

 

See Peter O’Toole Talk Hamlet with Orson Welles (1963) and Play Petruchio in The Taming of the Shrew (1986)

To write an obit­u­ary for Peter O’Toole, who died this past Sun­day, I would pick no oth­er writer than New York­er film crit­ic Antho­ny Lane. Luck­i­ly, the New York­er had the same incli­na­tion. In his “post­script” piece on O’Toole, Lane ref­er­ences one of my favorite pieces of tele­vi­sion talk, view­able above. “To watch O’Toole and Orson Welles on the BBC’s Mon­i­tor pro­gram, in 1963, as they rumi­nate at length on Ham­let and his father’s ghost,” he writes, “is to real­ize what a real talk show is, or what it could be, when the air­waves were still haunt­ed by the grand talk­ers. What takes you slight­ly aback, how­ev­er, is not that O’Toole seems will­ing and able to dis­cuss sev­en­teenth-cen­tu­ry Catholic doc­trines of the after­life but that, with his dicky bow, dark shirt, and thick-rimmed black spec­ta­cles, he looks like a man in dis­guise.” Lane points out what even some of us O’Toole fans nev­er quite real­ized: “scan his fil­mog­ra­phy and you see how sel­dom he made an impact in mod­ern garb, and what ele­gant shel­ter he sought in peri­od dress.”

Even film­go­ers who’ve seen only O’Toole’s most famous per­for­mances in lav­ish, wider-than-widescreen his­tor­i­cal films — Lane high­lights his title role, a mas­ter work of tense­ly focused flam­boy­ance, in David Lean’s Lawrence of Ara­bia and his turn as gen­tle Regi­nald John­son, tutor of the title char­ac­ter in Bernar­do Bertoluc­ci’s The Last Emper­or — rec­og­nize the strength he drew from step­ping into the past and its haze of myth. O’Toole enjoyed some of his finest per­for­ma­tive hours, his most ded­i­cat­ed fol­low­ers say, when he stepped all the way back into the six­teenth cen­tu­ry, to the time of Shake­speare. Remark­ing on his ten­den­cy to play oth­er nation­al­i­ties — the Eng­lish Lawrence, the Scot­tish John­son — Lane observes that “he was Irish, as tall and slim and unsnap­pable as a Malac­ca cane, and one regret, for his moviego­ing fans, was that they saw and heard far less of O’Toole the Celt than their the­atre-lov­ing coun­ter­parts were priv­i­leged to enjoy.” Just above, you can at least hear one more instance of the the­atri­cal, and Shake­speare­an, O’Toole in action — not, alas, as an Irish­man, but as an Ital­ian: Petru­chio, the strong-willed (and fem­i­nist-loathed) suit­or at the heart of The Tam­ing of the Shrew. Note that this per­for­mance, a pro­duc­tion of Liv­ing Shake­speare in 1986, uses an abridged ver­sion of the play, but O’Toole him­self cer­tain­ly sounds in full form.

Relat­ed Con­tent:

Lawrence of Ara­bia Remem­bered with Rare Footage

Acclaimed BBC Pro­duc­tion of Ham­let, Star­ring David Ten­nant (Doc­tor Who) and Patrick Stew­art (Star Trek)

A Sur­vey of Shakespeare’s Plays (Free Course)

Pink Floyd’s David Gilmour Sings Shakespeare’s Son­net 18

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on cities, Asia, film, lit­er­a­ture, and aes­thet­ics. He’s at work on a book about Los Ange­les, A Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall or on his brand new Face­book page.

Hand-Colored Photographs of 19th Century Japan

hand colored japanese photos

This week, The Pub­lic Domain Review (PDR) post­ed a series hand-col­ored albu­mine prints (“a process which used the albu­men found in egg whites to bind the pho­to­graph­ic chem­i­cals to the paper) from 19th cen­tu­ry Japan. They date back to 1880.

Some of the prints, like the one below, cer­tain­ly have a for­eign qual­i­ty to them. They feel far away in terms of time and place. But oth­ers (like the shot above) feel remark­ably close, some­thing we can all relate to today.

Hand coloured photographs of 19th century Japan

Accord­ing to the PDR, the pic­tures came to reside in the Dutch Nation­al Archive as a result of the cen­turies-long com­mer­cial rela­tion­ship between the Dutch and the Japan­ese. More vin­tage pix can be viewed here.

Relat­ed Con­tent:

The Old­est Col­or Movies Bring Sun­flow­ers, Exot­ic Birds and Gold­fish Back to Life (1902)

One of the Ear­li­est Known Pho­tos of Guys Sit­ting Around and Drink­ing Beer (Cir­ca 1845)

1922 Pho­to: Claude Mon­et Stands on the Japan­ese Foot­bridge He Paint­ed Through the Years


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