The Ransom Center has acquired the manuscripts of anthropologist Claude Lévi-Strauss’s major and minor doctoral theses. The typed theses, annotated with handwritten corrections, were presented by Lévi-Strauss at the Sorbonne University in Paris in 1948 upon completion of his doctorate in humanities. Lévi-Strauss’s major thesis, “Les structures élémentaires de la parenté,” was published in English as “The Elementary Structures of Kinship” in 1949. In the thesis, he proposed the “alliance theory,” a structuralist model for the anthropological study of relations and kinship. His minor thesis, “La vie familiale et sociale des indiens Nambikwara” (“The Family and Social Life of the Nambikwara Indians”), is an ethnography of an indigenous group of the Brazilian Amazon.
Frequently referred to as the father of modern anthropology and structuralism, Lévi-Strauss is known for works such as A World on the Wane (1955), The Savage Mind (1962) and the four-volume Mythologiques series, completed in 1971.
Pestilence, famine, war, and death: The Four Horsemen of the Apocalypse were close companions to life in the fourteenth century. The Church was compromised by political corruption and worldliness, and the pope resided not in Rome but at Avignon, where he remained a virtual pawn to the king of France. During this calamitous phase of European history, a devotional text called the Book of Hours emerged as a medieval bestseller. Ten of these volumes reside in the Harry Ransom Center collections. Learn more about Books of Hours in the first of a three-part series on Books of Hours.
The Blanton Museum of Art’s current exhibition Manuel Álvarez Bravo and His Contemporariesfeatures works from the Ransom Center’s photography collections. Blanton Associate Curator of Latin American Art Ursula Davila-Villa discusses the life and work of Álvarez Bravo.
One of the most fascinating aspects of photography is how images change the way we look at the ordinary in the world. Manuel Álvarez Bravo, a master in transforming the everyday into extraordinary images, worked during one of the most important and transformative periods in the history of Mexico. He was a prolific photographer who lived for 100 years. During the 1930s and 1940s, his photographs laid bare a city that saw rapid urban changes that reshaped the face of Mexico. Álvarez Bravo’s unique vision is characterized by intimate scenes that fused local and international artistic developments such as geometric abstraction and surrealism. In 1929, Edward Weston wrote to Álvarez Bravo: “photography’s fortunate in having someone with your viewpoint.”
Their relationship would later develop into a friendship that also included Tina Modotti. The three photographers would work in Mexico and document a country that would capture their minds and hearts. When Modotti was deported from Mexico due to her political activities, she gave Álvarez Bravo her Graflex camera as a gift. It was Modotti who introduced Álvarez Bravo to Eugène Atget’s work, which would become an important influence for Álvarez Bravo.
The exhibition Manuel Álvarez Bravo and His Contemporaries: Photographs from the Collections of the Harry Ransom Center and the Blanton Museum of Art, on view at the Blanton Museum through August 1, features iconic images by Álvarez Bravo and his contemporaries (including Henri Cartier-Bresson, Dorothea Lange, Albert Renger-Patzsch, Walker Evans, and Edward Weston) drawn from the Harry Ransom Center and the Blanton’s collections.
Playwright Kenneth Brown, whose archive resides at the Ransom Center, introduces a screening of the documentary film Another Glorious Day tonight at 7 p.m. at the Ransom Center. The film explores the history, context, and performances of the Living Theatre’s European tour of his play, The Brig (1963). A question and answer session follows.
The film is centered around a 2008 revival of The Brig, the inflammatory play that exposed the harsh realities inside a U.S. Marine prison. This documentary by Karin Kaper and Dirk Szuszies puts former Marine Kenneth H. Brown’s drama into historical perspective—and makes a case for its ongoing relevance—through powerful scenes from the recent production in Berlin and illuminating interviews with directors of the play past and present, revival cast members, and the playwright himself.
The Cultural Compass had a conversation with Brown in which he discussed The Brig, its ongoing relevance, and his archive at the Ransom Center.
Brown discusses how The Brig changed the Living Theatre’s approach to productions.
The Living Theatre’s been in existence over 40 years, and it was in existence about 15 years before The Brig was done. And before The Brig was done, they were doing Brecht and various standard radical theatrical events. They did Paul Goodman and Picasso and Gertrude Stein and Brecht.
But once The Brig was done, the play, which the movie demonstrates, created the acting style and the approach to material by the company that has existed from 1963 to the present day. The whole direction of the company was re-directed by their doing The Brig. The reason being, that in order for the play to work onstage, you have 17 Marines—those are all the characters in the play—you have to make them Marines. So we had to conduct a boot camp, which went on for six weeks. By the time it was over, these guys were running ten miles and doing 60 push-ups and sit-ups, and they knew how to march, and they knew how to double-time, they knew how to half-step. They were Marines!
And that made the play absolutely riveting because it was like looking at the real thing, rather than looking at something being enacted. Because the one thing the actors said to me was, “There’s no audience in the brig. And there’s no acting in the brig because if you have to make a bed, you really have to make a bed.” There’s no making belief you’re making the bed. If some guy punches you in the stomach, he’s not really punching you, but your reaction has to be so real that it’s almost as bad as if he really punched you.
So by the time they did the play, it created this whole style and approach to material in the theater that was responsible for everything the Living Theatre did afterward. They did everything in that style and still do to this day.
Brown discusses how it feels to have his papers housed at the Ransom Center.
I’m 74 years old. A few years ago—and I’m in relatively good health—I said to myself, “Well, I’m over 70, got a nice little apartment in Brooklyn overlooking the bridge, a beautiful neighborhood with the store where I did my shopping.” I had really kind of retired from life. And it was fine. I hadn’t stopped writing. I never stopped writing. I’d been writing since I was 6 years old. But I had settled on “this is it.”
And then, in 2007, Judith Molina [co-founder of The Living Theatre], who’s now 83 years old, called me and said, “We’re reviving The Brig.” I went, “I don’t believe it.”
And then it opened in 2007, and it was a bigger hit than it was the first time. And in The New York Times, we had a two-page review with pictures. Two pages! Not a column. Two pages with pictures! And then in 2008 it went on the European tour, and then Tom Staley bought the archive, and all of a sudden, I turned around, and I had been thrown back in the pool again. And that’s kind of what my feeling of my archive, of the whole process, is.
It has enlivened interest in a lot of other stuff of mine.
Brown discusses why The Brig is still relevant to today’s audiences.
The Brig has always been relevant, which is kind of amazing to me. But I guess as long as there’s war and as long as there’s a military and especially as long as one questions the ethical right to wage war and in this ridiculous nonsense in Afghanistan and Iraq—when you do a play that studies the psychology of what it is to be a Marine, how more relevant can you get? It’s going to stay relevant forever. Until there’s peace throughout the world. Then the play’s not relevant anymore because then there’s no military threat. If there’s no military threat, then the play ceases to be relevant.
2010 marks the twentieth anniversary of the publication of Tim O’Brien’s The Things They Carried, a ground-breaking meditation on war, memory, imagination, and the redemptive power of storytelling. The book depicts the men of Alpha Company: Jimmy Cross, Henry Dobbins, Rat Kiley, Mitchell Sanders, Norman Bowker, Kiowa, and the character Tim O’Brien, who has survived his tour in Vietnam to become a father and writer at the age of 43.
The Ransom Center acquired the archive of the National Book Award–winning writer in 2007, and a finding aid for the collection is available online. Also, read what O’Brien has to say about his papers residing at the Ransom Center.
Please click the thumbnails below to view full-size images.
Thomas F. Staley, director of the Harry Ransom Center for the last 22 years, will retire August 31, 2011. During his tenure, Staley has raised more than $100 million in donations and collection materials, expanded the Center’s holdings substantially, increased awareness of the collections, and focused on making them more accessible to scholars and the public. Learn more or view a list of major acquisitions and achievements under the leadership of Staley
Tonight, writer Angella Nazarian reads from Life as a Visitor, her account of fleeing Iran with her family and life as an immigrant caught between two cultures. This event, which is co-sponsored by the Schusterman Center for Jewish Studies at The University of Texas at Austin, will be webcast live. She shares the story of her memoir.
In writing my book, Life as a Visitor, I wanted to talk about the psychological and personal issues that take over the life of an 11-year-old Iranian girl when she finds herself in a new country without her parents. This book was a deeply personal tale of my journey. But an interviewer raised an interesting question last week: “Your book is a personal tale, but isn’t the personal also always political?” Anything that is related to Iran and one’s experience in the country seems to have political overtones. Many Iranian Jews did as my family did at the start of the Islamic Revolution in 1979—they fled the country, leaving their belongings and loved ones behind in a matter of days or at the most a couple of months. So tales of displacement, loss, and revolution, as personal as they may be, are embedded in the larger arena of world politics. Now once again, I see images of uprisings, protests, and violence coming out of Iran, and I am reminded of what I witnessed as a child. But this time instead of fear, I am feeling a renewed sense of hope.