Songcatcher 歌追い人


Songcatcher 2000 drama film directed by Maggie Greenwald. It is about a musicologist researching and collectingAppalachian folk music in the mountains of western North Carolina. Although Songcatcher is a fictional film, it is loosely based on the work of Olive Dame Campbell, founder of the John C. Campbell Folk School in Brasstown, North Carolinaand that of the English folk song collector Cecil Sharp, portrayed at the end of the film as professor Cyrus Whittle.


In 1907, Dr. Lily Penleric (Janet McTeer), a professor of musicology, is denied a promotion at the university where she teaches. She impulsively visits her sister Eleanor (Jane Adams), who runs a struggling rural school in Appalachia. There, she discovers a treasure trove of traditional English ballads, which have been preserved by the secluded mountain people since the colonial period of the 1600s and 1700s. Lily decides to record and transcribe the songs and share them with the outside world.
With the help of a musically talented orphan named Deladis Slocumb (Emmy Rossum), Lily ventures into isolated areas of the mountains to collect the songs. She finds herself increasingly enchanted, not only by the rugged purity of the music, but also by the courage and endurance of the local people as they carve out meaningful lives against the harsh conditions. She becomes privy to their struggles to save their land from Earl Giddens (David Patrick Kelly), representative of a coal mining company. At the same time, Lily is troubled when she finds that Eleanor is engaged in alesbian love affair with her co-teacher at the school.
Lily meets Tom Bledsoe (Aidan Quinn), a handsome, hardened war veteran and talented musician. Despite some initial resentment, she soon begins a love affair with him. She experiences a slow change in both her perception of the mountain people as savage and uncouth, and of her sister's sexuality as immoral. Hoping to help share the culture of the mountain people with the wider world, Lily convinces Clementine McFarland (Rhoda Griffis), an art collector, to purchase a painting done by a local woman.
Events come to a crisis when a young man discovers Eleanor and her lover, Harriet, kissing in the woods. That night, two men set fire to the school building, burning Eleanor, Harriet, and Deladis out of their home and destroying Lily's transcriptions of the ballads and her phonograph recordings. Rather than starting over again, Lily decides to leave. But she convinces Tom and Deladis to "go down the mountain" with her to make and sell phonograph recordings of mountain music. As they depart, Cyrus Whittle, a renowned professor from England, arrives on a collection foray of his own, ensuring that the ballads will be preserved in the manner that Lily had originally intended.

re Annie Dillard (4)

Annie Dillard:
Writer and poet Annie Dillard was born in 1945 in Pittsburgh, Pennsylvania. She attended Hollins College in Virginia, and in addition to authoring several books, has been a columnist for the Wilderness Society; has had her work appear in many magazines including The Atlantic, Harper's Magazine, The Christian Science Monitor, and Cosmopolitan; has received fellowship grants from the John Simon Guggenheim Foundation and the National Endowment for the Arts; and has received various awards including the Washington Governor's Award, the Connecticut Governor's Award, and the New York Press Club Award.
"I am no scientist," she says of herself.  "I am a wanderer with a background in theology and a penchant for quirky facts."  She adds, "As a thinker I keep discovering that beauty itself is as much a fact, and amystery...I consider nature's facts -- its beautiful and grotesque forms and events -- in terms of the import to thought and their impetus to the spirit.  In nature I find grace tangled in a rapture with violence; I find an intricate landscape whose forms are fringed in death; I find mystery, newness, and a kind of exuberant, spendthrift energy."

Environmentalists have compared Dillard to Thoreau, Dickinson, and Emerson.  Edward Abbey wrote this about Teaching a Stone to Talk: "This little book is haloed and informed throughout by Dillard's distinctive passion and intensity, a sort of intellectual radiance that reminds me of both Thoreau and Emily Dickinson."  Loren Eiseley, reviewing Tickets for a Prayer Wheel, says this about her: "She loves the country below. 
Like Emerson, she sees the virulence in nature as well as the beauty that entrances her.  Annie Dillard is a poet."

re Annie Dillard (3)

Annie Dillard 
Annie Dillard was born in 1945, and is now forty-nine and living and teaching in Connecticut (for perspective, Tinker Creek was written in 1974, when she was twenty-nine). She has an unquenchable thirst for knowledge, it seems. Often she reads over 100 books a year, on just about any topic imaginable. She's been this way from her childhood on.

Annie is the oldest of three daughters, born to affluent parents. Her parents encouraged her to be creative and explore her surroundings. They taught her to have a good sense of humor. Her mother was defiant, a non-conformist, and incredibly energetic. Her father taught her everything from plumbing to economics to the intricacies of the novel On The Road. Annie enjoyed a childhood filled with many good memories - days of piano and dance classes, and rock and bug collecting. But there were also many troubles -- like Hitler's rise and the horrors of war.

During her high school years, Annie rebelled against her affluent, country club upbringing. She hated everyone, got into trouble in school a lot. Around this time, her academic interests turned to poetry. She read all sorts of poetry, and was particularly interested in Ralph Waldo Emerson. She also wrote a lot of poetry on her own, sometimes using her own style, sometimes trying to imitate her favorite authors. Her interests in wildlife continued as well - with Annie still rereading her longtime favorite book once a year - The Field Book of Ponds & Streams.

Next, Annie went to college at Hollins College, near Roanoke, Virginia and studied English, theology, and creative writing. She married her writing teacher, Richard Dillard (her maiden name is Doak) -- the person she says "taught her everything she knows" {Smith, 7} about writing. In 1968 she graduated with a Masters in English, after creating a 40-page thesis on Thoreau's Walden, which focused on the use of Walden Pond as "the central image and focal point for Thoreau's narrative movement between heaven and earth." {Smith, 7} When you read Tinker Creek it's obvious that Thoreau had an enormous influence on her own style of writing. The next couple of years after graduation, Annie spent painting, and writing, having several poems published.
One thing I should mention now is Annie's religious background. Her family attended Presbyterian church when she was a child. She spent a few summers at a fundamentalist summer camp. During her rebellious teenage years, she quit her church because of the "hypocrisy". But, her priest was able to lure her back the next month with a well-thought-out argument based on the works of CS Lewis. After her college years, Annie became, as she says, "spiritually promiscuous," incorporating the ideas of many religious systems into her own personal religious world-view. Not only are there references to Christ, and the Bible in Tinker Creek, but also to Sufism, Buddhism, the Eskimo's religious system, and Hasidic Jews, just to name a few. She tries to look at every situation from every angle. (Just recently, Annie has converted to the Catholic Church.)
Annie's writing Tinker Creek was indirectly influenced by a near fatal attack of pneumonia which she was stricken with in 1971. After she recovered, Annie decided that she needed to experience life more fully. She spent four seasons living near Tinker Creek, an area surrounded by forests, creeks, mountains, and a myriad of animal life. She spent her time outdoors mostly, walking and camping, just being there with the nature. When she was inside, she mostly read. After living there for about a year, Annie began to write about her experiences there by the creek (challenged to write a book herself because the one she was reading at the moment was particularly bad). She started by writing a journal of her experiences, then transposed it all to notecards when the journal reached 20-plus volumes. It took her about 8 months to turn the notecards into the well-crafted Pilgrim at Tinker Creek. Towards the end of the 8 months she was so absorbed that she was spending 15, 16 hours a day writing, cut off from society, not even keeping up with the latest world news, living on coffee and coke. She lost 30 pounds and all of her plants died - she was so absorbed she forgot about everything else.

Annie was timid about presenting her book to the public. She even thought of publishing it under a man's name, because she was worried that a theology book by a woman would not be well-received. But, she was worrying for no reason. The book was incredibly well-received. In 1975 she was awarded the Pulitzer for general non-fiction. The fame that came along with a Pulitzer winning book did not sit well with Annie. She didn't trust it. For example, she was bothered by all of the people who were coming to her wanting poems -- that had rejected her works in the past before she was famous. She moved to an isolated cabin on an island in the Pugent Sound, and lived there for a while before moving to Connecticut to teach. In 1982 she was honored with an invitation to take part in a cultural delegation of scholars, traveling with them to China.

Since Tinker Creek, Annie has continued to write. Some of her other works includeTicket for a Prayer Wheel, a book of poetry, and An American Childhood, an autobiography of her early years. Her writing continues to meet with critical acclaim. She has been divorced and has remarried several times, and has a daughter now, born in 1984. The latest information I could find says that her current husband is a man named Robert who wrote "the best biography she had ever read" {Smith, 14} on Thoreau. Annie now works at Wesleyan University in Connecticut, as an adjunct professor of English and a writer-in-residence.

re Annie Dillard (2)

Annie Dillard's Pilgrim at Tinker Creek

Annie Dillard (1945-present) studied theology and creative writing at Hollins College, near Roanoke, Virginia. She married her writing teacher, Richard Dillard, who Annie claims "taught her everything she knows" about writing. Her Masters thesis was 40 pages on Thoreau's Walden Pond. Thoreau's influence on Annie's writing of Pilgrim at Tinker Creek is evident. She was awarded the Pulitzer for the book in 1975. Annie was twenty-nine at the time.

Tinker Creek was the product of a serious bout of pneumonia which struck Annie in 1971. After she recovered, Annie wanted to experience life more fully and spent four seasons living near Tinker Creek where she journaled about the surrounding forests, creeks, and mountains. Her journal reached 20-plus volumes which she transposed to notecards. It took her about 8 months to turn the notecards into the Pilgrim at Tinker Creek. Towards the end of the 8 months she was so absorbed that she was spending 15 hours a day writing, ignoring the outside world and living on coffee and coke. She was so absorbed in the project that she hardly ate and lost 30 pounds.

Annie hesitated about publishing her book because she was worried that a theology book written by a woman would not be well-received. Today many readers enjoy Pilgrim at Tinker Creek because it is rich in images and details. Here are some excerpts from her award-winning book:

"The sky is deep and distant, laced with sycamore limbs like a hatching of crossed swords. I can scarcely see it; I'm not looking. I don't come to the creek for sky unmediated, but for shelter. My back rests on a steep bank under the sycamore; before me shines the creek- the creek which is about all the light I can stand - and beyond it rises the other bank, also steep, and planted in trees.

I have never understood why so many mystics of all creeds experience the presence of God on mountaintops. Aren't they afraid of being blown away? God said to Moses on Sinai that even the priests, who have access to the Lord, must hallow themselves, for fear that the Lord may break out against them. This is the fear. It often feels best to lay low, inconspicuous, instead of waving your spirit around from high places like a lightning rod. For if God is in one sense the igniter, a fireball that spins over the ground of continents, God is also in another sense the destroyer, lightninbg, blind power, impartial as the atmospher. Or God is one "G." You get a comforting sense, in a curved, hollow place, of being vulnerable to only a relatively narrow column of God as air." (p. 89)

"The question from agnosticism is. Who turned on the lights? The question from faith is, Whatever for? Thoreau climbs Mount Katahdin and gives vent to an almost outraged sense of the reality of things of this world: "I fear bodies, I tremble to meet them. What is this Titan that has possession of me? Talk of mysteries! - Think of our life in nature, - daily to be shown matter, to come in contact with it, - rocks, trees, wind on our cheeks! the solid earth! the actual world! thecommon sense! Contact! Contact! Who are we? where are we? The Lord God of gods, the Lord God of gods, he knoweth....

Sir James Jeans, British astronomer and physicist, suggested that the universe was beginning to look more like a great thought than a great machine. Humanists seized on the expression, but it was hardly news. We knew, looking around, that a thought branches and leafs, a tree comes to a conclusion. But the question of who is thinking the thought is more fruitful than the question of who made the machine, for a machinist can of course wipe his hands and leave, and his simple machine still hums; but if the thinker's attention strays for a minute, his simplest thought ceases altogether. And, as I have stressed, the place where we so incontrovertibly find ourselves, whether thought or machine, is at least not in any way simple.

Instead, the landscape of the world is "ring-streaked, speackled, and spotted," like Jacob's cattle culled from Laban's herd." (p. 144-145)

re Annie Dillard

Discussion of author Annie Dillard, Nature and The Writing Life

Annie Dillard walked by my side when I lived on the northernmost tip of Vancouver Island in 1975. My isolation was no less than hers, although I was surrounded by people: loggers, fishermen, trappers, hunters, chefs, waiters and a bar full of whiskey that I was in charge of. During my hours off-work, I hid in a cove down by the harbor, or I went to the dump to be entertained by the bears. Always, Annie came with me. “Pilgrim at Tinker Creek” gave me everything a solitary girl needed. Her words were my refuge, my delight, my confusion, my comfort. When I think of the six months in Port Hardy, I think of Annie.
“The Writing Life” is full of her parables: a man who rowed against the current until the current changed and brought him home; chopping at alder logs like a crazed woman until she learned to chop through the wood and the logs relented; watching Rahm roll his stunt plane through the air, making beautiful patterns like the precise blue-green swallow, and learning that it was all about sticking with the rhythm and paying attention to the lighting. All her stories trap the reader’s attention and pull them in until they realize she’s teaching about writing.  It makes me wonder if Annie has ever written about anything else. Aren’t all her books, when you get down to her basic message, about the writer’s life?
Annie secludes herself. She goes where she cannot be distracted by the usual daily din, finds a small, often cold and somewhat dark, shack of a room to write in. She tells me to “spend it all; play it, lose it, all, right away, every time.” She warns me not to hoard a good phrase for a later time, for in the hoarding act, it will be lost. It must be freely given, she says, reminding me of what my Dad used to tell me, “Nothing is yours until you give it away.”  She bids me to “examine all things intensely and relentlessly. Probe and search each object in a piece of art.”  She describes watching parallel rows of ocean waves breaking up, as if they were “reproducing the sensation of reading, but without reading’s sense.” (Brilliant, Annie – just brilliant observation!)
Annie wrote a whole chapter in one and a half pages. She warns that the writer’s life is wrought with danger – especially when the writer leaves the work. She uses an erupting typewriter and her struggle to prevent the room from catching fire as the only scene/event in the chapter. Her final statement, instead of giving explanation, assured the reader that though she’s had no trouble with it since, she knows it can happen. She never says if it ever really did happen, (she might have dreamt it), or whether she invented the whole scene as a metaphor for the labor a writer goes through, only to face complete destruction.  It doesn’t even matter that we don’t know. She pulls off another parable, so powerful, that it took less than 2 pages to leave me contemplating the scene for half an hour, playing with her words and wondering what gave her the courage or even the idea, to write a whole chapter in five short paragraphs and teach a lesson about sticking with it no matter what.
I love you, Annie.  Show me that trick again.
I want to tell Annie my parables; about the bears I watched, and how I learned that you have to respect the mother. I want to show her how the rescued bird looked out for his brother and saved him from starving. I want to show her how the English robin’s hunger, keen sense of hearing, and his successful hunt convinced me that I could return to America and make a new life out of nothing. I wonder, when Annie ponders the world she secludes herself in, does she have a question in mind that nature answers? Or does she gaze and observe until nature teaches her the question? Perhaps the result of every writer’s work is in reality nature’s own act of learning.


Annie Dillard


                                     Annie Dillard

Annie Dillard (1945 - Present)
Annie Dillard (born April 30, 1945) was born Meta Annie Doak in Pittsburgh, Pennsylvania. She attended The Ellis School throughout her childhood and first began writing poetry while in high school there. She earned her B.A. and M.A. at the all-female Hollins University (then Hollins College) in Virginia where as a sophomore she married her writing professor, the poet R. H. W. Dillard. After nearly dying from pneumonia, Dillard began writing regular, lengthy diary entries, which would later form the basis of her Pilgrim at Tinker Creek.
She won the Pulitzer Prize (non-fiction) in 1975 with her first book of prose, Pilgrim at Tinker Creek, which is an extended meditation on her observations of the natural world. Some have called it a work of mysticism or theology. This combination of observations on nature and philosophical explorations is also present in several of her other books, including For the Time Being and Holy the Firm.

"Every year a given tree creates absolutely from scratch ninety-nine percent of its living parts."— Annie Dillard.
 Photo: © Blaine Stiger - Fotolia.com

From Dillard’s musings on the natural world, we learn that the main problem with contemplation is one of observation. One cannot properly describe and appraise Nature unless one truly sees it as it is. In attempting to discern the nature of Nature, Dillard grapples with the difficulty of observing Nature accurately, with the difficulty of seeing. Nature is so “wholly gratuitous,” with such an “extravagance of minutiae,” that if one wishes to see it truly, they must accept a part for the whole. As Dillard says, “I do not understand even what I can easily see. I would like to see it all, to understand it, but I must start somewhere, so I try to deal with the giant water bug in Tinker Creek and the flight of three hundred redwings from an Osage orange.”
In the first half of the book, Dillard is often seized with a kind of wild rapture, an amazement with the diversity and complexity of Nature. But such a joyful understanding would be incomplete without acknowledging the dark side of such complexity. If the world is so large, what is the place of the individual in such a world? Dillard explores this question in a chapter called “Fecundity,” the bleak response to an earlier chapter called “Abundance”:

I don’t know what it is about fecundity that so appalls. I suppose it is the teeming evidence that birth and growth, which we value, are ubiquitous and blind, that life itself is so astonishingly cheap, that nature is as careless as it is bountiful, and with that extravagance goes a crushing waste that will one day, include our own cheap lives, Henle’s loops and all. Every glistening egg is a memento mori.
Dillard’s concerns are existential in scope, full of religious anxiety meant to offset her earlier spiritual exuberance. Indeed, the book is somewhat religious in nature, as the title demonstrates. As a “pilgrim,” Dillard is obviously searching for some kind of religious enlightenment, some kind of connection with a mysterious God. In her “Afterword” to a twenty-fifth anniversary edition of the book, she admits that its thematic organization was religious in origin. The first half is meant to embody the via positiva school of theological thought, in which God possesses all positive attributes. The second half, beginning with “Fecundity,” is written from the perspective of thevia negativa school, in which God is seen as unknowable, with all attributes, positive and negative, inapplicable in the face of divine mystery. This conflict is made manifest by a continuing tension between Dillard’s joy in the face of beauty and alienation in the face of bewilderment.
It is in this conflict that we find the book’s relevance to the environmental movement and, indeed, all of humanity. Nature, the environment, the natural world — whatever you want to call it — is simply so beautiful, so complex, so big (and I mean big) that the only appropriate response to it is a deep humility. Indeed, the average human being can only come away from the book chastened by its presentation of Nature’s mystifying workings. Our own synthetic, consumptive activities look cheap and shameful compared with the mechanics of a small creek. After reading Pilgrim, even the most ardent developer would probably be forced to think twice about cutting down an ancient stand of trees to pave the way for another execrable subdivision.
And all of this from one woman’s observations on the flora and fauna of a nearby creek.
Ralph Waldo Emerson famously wrote, “[T]he world globes itself in a drop of dew.” What we learn in Pilgrim at Tinker Creek is that the world, whether it be a drop of dew or the whole of the universe, is a stunning thing — equally wonderful, equally terrible, and full of mystery.




オルネッラ・ヴァノーニ Ornella Vanoni


 基本的にはカンツォーネ畑の人だが、そのレパートリーは実に幅広い。中でもブラジル音楽には強い思い入れがあるようで、トッキーニョやヴィニシウス・ヂ・モライスと共演した“La voglia La pazzia L'incoscienza L'allegria(希望、狂気、無意識、歓び)”というボサノヴァ・アルバムの傑作も残している。
 かくして、パオーリはヴァノーニのために次々と楽曲を書き下ろす。61年に発表した“Senza fine(目的もなく)”が大ヒットし、64年には“Amore mio(愛しい人)”がナポリ音楽祭で準優勝に輝く。さらに、66年のサンレモ音楽祭参加曲“Io ti daro di piu(あなたに全てを捧げる)”は彼女にとって最大のヒット曲となり、アメリカの歌手ヴィッキー・カーによる英語カバーも発売された。
 67年にはレコード会社をアリストンへと移籍。68年に発売した“Ai miei amici cantautori(親愛なるシンガー・ソングライターへ捧ぐ)”は、ジョン・レノンやジョアン・ジルベルトなど自らが多大な影響を受けたシンガー・ソングライターの作品をカバーしたアルバムで、イタリア音楽界における最初のコンセプト・アルバムと呼ばれている。
 さらに、81年には“Vai, Valentina(行きなさい、ヴァレンティナ)”と“Musica, Musica(音楽よ、音楽よ)”の2枚のシングルが大ヒット。89年には久々にサンレモ音楽祭へ参加して話題となったが、90年代に入ると音楽活動やテレビ出演も次第に少なくなっていく。
 しかし、97年に発表したジャズマン、パオロ・フレスとのコラボ・アルバム“Argilla(土)”が大ヒット。99年にはサンレモ音楽祭にも復帰し、60~70年代のヒット曲をカバーしたアルバム“Un panino una birra e poi...(パンとビールとそれから・・・)”(01)と“E poi...la tua bocca da baciare(そして・・・あなたの唇にキッスを)”(01)もベスト・セラーとなった。
 04年にはジーノ・パオーリとのコンビでコンサート・ツアーも大成功させ、今年で75歳を迎える現在もイタリア音楽界の第一線でバリバリ活躍している。先日のサンレモ音楽祭でも、若手女性歌手シモーナ・モリナーリと“Egocentrica(自己中心的)”デュエットを披露し、さらに故ルイジ・テンコの名曲“Vedrai, Vedrai(ヴェドライ・ヴェドライ”を歌って喝采を浴びたばかりだ。



出典: フリー百科事典『ウィキペディア(Wikipedia)』 (2011/07/31 01:59 UTC 版)


ミラノの製薬企業を経営する富裕な一家に生まれ、ソルボンヌ大学ケンブリッジ大学に留学。その後ミラノに戻り、1950年代後半から女優、歌手として活動。1960年、著名な演出家ジョルジョ・ストレーレルの指導のもとに舞台女優として本格的にデビューした。歌手としても1961年の「Cercami チェルカミ」や、ジーノ・パオーリの作曲による「Senza fine 恋に終わりなく」がヒットし、1964年には「Tu si na cosa grande 素敵なあなた」でナポリ音楽祭に優勝する。またサンレモ音楽祭にも連続出場し、「Abbracciami forte 強く抱きしめて」(1965年)、「Io ti darò di più 生命をかけて」(1966年)、「La musica è finita 音楽は終わったのに」(1967年)、「Casa bianca カーザ・ビアンカ」(1968年)、「Eternità 永遠」(1970年)でそれぞれ入賞している。1970年に彼女の最大のヒットとなった「L'Appuntamento 逢いびき」は2004年の映画「オーシャンズ12」に使用され、また日本ではBS日本の番組「小さな村の物語イタリア」のオープン・エンドテーマとして親しまれている。



The Joe Pickett Novels 
Open Season (2001) ISBN 978-0399147487
Savage Run (2002) ISBN 978-0399148873
Winterkill (2003) ISBN 978-0425195956
Trophy Hunt (2004) ISBN 978-0399152009
Out of Range (2005) ISBN 978-0399152917
In Plain Sight (2006) ISBN 978-0399153600
Free Fire (2007) ISBN 978-0399154270
Blood Trail (2008) ISBN 978-0399154881
Below Zero (2009) ISBN 978-0399155758
Nowhere to Run (2010) ISBN 978-0399156458
Cold Wind (2011) ISBN 978-0399157356

The Stand-Alone Novels
Blue Heaven (2008) ISBN 978-0312365707
Three Weeks to Say Goodbye (2009) ISBN 978-0312365721
Back of Beyond (release date: 8/2/2011) ISBN 978-0312365745
Limited Edition Short Stories Dull Knife (2005) ("A Joe Pickett Story")
The Master Falconer (2006)
le Sauvage Noble (2007)