JULIE YVONNE WEBB, R.N., M.S. Hyg. Miss Webb Is Working Toward

Total Page:16

File Type:pdf, Size:1020Kb

JULIE YVONNE WEBB, R.N., M.S. Hyg. Miss Webb Is Working Toward 4.eI JULIE YVONNE WEBB, R.N., M.S. Hyg. Miss Webb is working toward a doctorate in public that disease exists and engage in xites that might be health at the Tulane University School of Public termed magic and in dancing and the use of smoke Health and Tropical Medicine. The article is ex- and noise to drive away evil spirits. Hanlon notes cerpted from her master's thesis "Superstitious In- that burning pitch and firing a cannon were means fluence-Voodoo in Particular-Affecting Health of combating yellow fever in communities at the end Practices in a Selected Population in Southern of the 19th century (1). Louisiana" (© Julie Yvonne Webb 1971). Tear- Man has also used charms, amulets, and talismans sheet requests to Miss Julie Yvonne Webb, 534 endowed with magical powers to guard himself St. Peter Street, New Orleans, La. 70116. against dangers-physical, magical, and demoniac. Every man, primitive or civilized, somehow finds Some Louisianians continue to believe in the magi- a way to live with the fear that illness evokes in all of cal powers of such talismans and in the special prop- us. In southern Louisiana, many persons have found erties of herbs and roots to treat illness and disease. the religion of voodooism their method for handling this fear. Background of Voodoo in Louisiana Preventing disease by outwitting evil spirits is re- Many superstitions held by Louisianians stem sorted to by primitive man and in many civilized from the cult of voodoo. Voodoo rites and charms societies. Practically all primitive people recognize were imported to the area with the first shipment of April 1971 Vol. 86 No. 4 291 slaves from Africa to the colony of Louisiana in 1718, the year the city of New Orleans was founded (2). Asbury claims that the first cargo of slaves came from the Guinea coast of Africa, and succeeding shipments came from the French colonies of Martinique, Guadaloupe, and Santo Domingo, which were hotbeds of voodooism (3). Haitian Negroes came to Louisiana in the latter part of the 18th century and early in the 19th century when the French were evicted from Santo Domingo by slave uprisings that led to the establishment of the Haitian Republic. They also brought the vodoo cult with them. The origin of the Haitian cult of voudon or voudu has been precisely traced to Dahomey in West Africa. The Dahomean word "vodu" designates the polytheistic deities worshipped by Dahomeans. Sea- brook believes that its magic, sorcery, and witchcraft are secondary to, or byproducts of, voodoo as a re- ligious faith (4). In Louisiana, Africans continued their belief in fetishes and their cult of the great serpent god. Some cultists professed to have supernatural powers to do things ordinary people cannot do, and thus received the terrified respect of their people. The belief in voodoo spread to white people and for years talk of voodoo influences was common (2). Although the growth of the cult in Louisiana seemed slow, Governor Bernardo de Galvez pro- hibited further imports of slaves in 1782 since voo- To have Marie Laveau "put a hex on or take one off or dooism had become such a potential menace. "They do a special favor, one picks up a piece of brick chalk, are too much given to voudouism and make the lives which always seems to be in abundance in front of the of the citizens unsafe . ." (3). grave, makes an X on the tomb, taps the left foot three After the United States purchased the Louisiana times in the dust from the tomb, knocks on the tomb three times with the left hand, flattens the left hand over the X territory, at least 5,000 refugee Negroes, free and mark and silently makes the wish. Devotees keep their slave, arrived in New Orleans between 1806 and pieces oi chalk as charms. 1810. The development of voodooism as a real fac- tor in the lives of Louisiana Negroes began with this were dealers in the black art, and all the women influx. in her family had been specialists in the voodoo cult For some 20 years after the Civil War, the most (5). She revised the ritual of the cult to include powerful figures among the Negroes of New Orleans worship of the Virgin Mary and the Catholic saints, were the voodoo queens who presided over cere- so that voodooism became a curious mixture of monial meetings and ritual dances. The voodoo doc- West Indian fetish worship and allegedly perverted tors occupied secondary positions in the hierarchy. Catholicism (3a). Voodooism usurped the rite of Both queens and doctors were practitioners of black exorcism, as well as other Catholic rites (6). Many magic and derived substantial incomes from selling Marie Laveau followers still visit her tomb and charms, amulets, and magical powders, all guaran- perform a ritual (see photo above.) teed to cure the purchaser's every ailment, grant his In 1940, voodoo was mentioned in connection desires, and confound or destroy his enemies (3). with a New Orleans murder (7). In November Many sensible persons believed in voodoo power and 1950, a Puerto Rican mother in New Orleans suffered great indignities at the hands of these slashed herself and four children with a razor blade people rather than complain to the authorities (2). and attempted to set fire to the house by sprinkling Perhaps the most famous queen of voodoo and kerosene on floors and furniture. She said she was the most talked about and written about was Marie hypnotized by a friend who had placed a spell on Laveau. Marie was born of free mulattos in New her (8). The New Orleans City Guide of 1952 Orleans in 1794. She came from seven generations stated that various forms of the rituals of voodooism of African-Haitian voodoo dealers. Her parents have persisted to the present time (9). Even to this 292 HSMHA Health Reports day, many white people as well as Negroes fear a different parts of bodies in jars. "It was generally gris-gris bag placed on their doorstep. known that the needle men were particularly inter- An editorial in the Journal of the American Med- ested in crippled people." Only one person I talked ical Association in 1964 noted that educated persons with believed that the people are made into walking find it difficult to believe that areas exist in the zombies. All others believed that the victims are world where sorcery is still practiced (10). killed. In November 1966, the death of a woman in A manuscript by an unknown elderly rural Loui- Baltimore, Md., who firmly believed her life was sianian (presented to the Louisiana State Museum hexed was likened, by one of the attending physi- in New Orleans by J. A. Breaux, former Chief Jus- cians, to the voodoo deaths in Africa. The record tice of the State's supreme court) contains infor- of that case appears on page 294 (personal com- mation concerning the "traiteurs" (13). The trai- munication dated February 15, 1967, from Julius teurs are nonmedical people who treat ailments and Krevans, M.D., formerly physician-in-chief, Balti- disease. According to the Breaux manuscript, the more City Hospitals). traiteurs wet their fingers with spittle, trace a cross Cannon has suggested that voodoo death is the on the sick part, or make the sign of the cross and result of shock produced by the sudden release of say certain words or prayers. Almost everyone in adrenalin. The victim breathes rapidly, has a fast the rural area has recourse to traiteurs for rheuma- pulse, and hemoconcentration caused by loss of tism, tumors, inflammations, erysipelas, angina, dis- fluids from the blood to the tissues. The heart beats locations, and arthritis. They may prescribe a no- at an extremely fast rate leading to a state of con- vena or apply an ointment or lotion mixed with stant contraction and to death in systole (11). ingredients such as the dew gathered in the month Ackerknecht believes that primitive medicine is of May or water from the first rain of the month. often successful, noting the large number of objec- On November 25, 1966, I visited a traiteuse in tively effective factors found in primitive medicines New Iberia who imparted her secret treatments for and treatments. He notes that the treatment is not chest pain and rheumatism. For chest ailments, she done in a rational sense, but in an entirely magical puts Mentholatum on yellow cotton, brown paper, sense, accompanied by spells, prayers, rites, or or newspaper and rubs the chest. After the massage dances. Another important reason he cites for their she hits the wall of the room with the flat of her success is the psychotherapeutic quality of primitive hand three times to "knock the pain out of the medicine-to heal or to destroy as in voodoo death patient" and to keep from "taking on" the patient's (12). pain herself. To treat rheumatism, she mixes Black Survey of Medical Superstitions Diamond tobacco, salt, and kerosene while saying Investigating the persistence of voodoo and folk the Lord's Prayer. Then the mixture is rubbed on superstitions concerning health was part of a re- the site of the pain. In addition to this preparation search project I undertook while doing graduate she ties nine knots in a string while saying prayers. work at Tulane University School of Public Health She explained that the nine knots were "for the and Tropical Medicine. In addition to a formal nine disciples." study of a group of patients and public health [Frazer noted that the Hos of Togoland practice nurses, I talked with many other persons.
Recommended publications
  • 'Voodoo' Death Revisited: the Modern Lessons of Neurocardiology†
    KEYNOTE ADDRESS MARTIN A. SAMUELS, MD, DSc (hon), FAAN, MACP* Neurologist-in-Chief and Chairman Department of Neurology Brigham and Women’s Hospital Professor of Neurology Harvard Medical School Boston, MA ‘Voodoo’ death revisited: The modern lessons of neurocardiology† n 1942, Walter Bradford Cannon published a personal danger or threat of injury; (7) after danger is remarkable paper entitled “‘Voodoo’ Death,”1 in over; and (8) reunion, triumph, or happy ending. which he recounted anecdotal experiences, largely Common to all is that they involve events impossible I from the anthropology literature, of death from for the victim to ignore and to which the response is fright. These events, drawn from widely disparate parts overwhelming excitation, giving up, or both. of the world, had several features in common. They were In 1957, Carl Richter reported on a series of experi- all induced by an absolute belief that an external force, ments aimed at elucidating the mechanism of such as a wizard or medicine man, could, at will, cause Cannon’s “voodoo” death.3 Richter studied the length demise and that the victim himself had no power to alter of time domesticated rats could swim at various water this course. This perceived lack of control over a power- temperatures and found that at a water temperature of ful external force is the sine qua non for all the cases 93º these rats could swim for 60 to 80 minutes. recounted by Cannon, who postulated that death was However, if the animal’s whiskers were trimmed, it caused “by a lasting and intense action of the sym- would invariably drown within a few minutes.
    [Show full text]
  • "Infidelity" As an "Act of Love": Patrick Marber's After Miss Julie (1995) As a Rewrite of August Strindberg's Miss Julie (1888)
    "Infidelity" as an "Act of Love": Patrick Marber's After Miss Julie (1995) as a Rewrite of August Strindberg's Miss Julie (1888). مسـرحيــة After Miss Julie للكاتب البريطاني باتريك ماربر كإعادة إبداع لمسرحية Miss Julie للكاتب السويدي أوجست ستريندبرج Dr. Reda Shehata associate professor Department of English - Zagazig University د. رضا شحاته أستاذ مساعد بقسم اللغة اﻹنجليزية كلية اﻵداب - جامعة الزقازيق "Infidelity" as an "Act of Love" Patrick Marber's After Miss Julie (1995) "Infidelity" as an "Act of Love": Patrick Marber's After Miss Julie (1995) as a Rewrite of August Strindberg's Miss Julie (1888). Abstract Depending on Linda Hutcheon's notion of adaptation as "a creative and interpretative act of appropriation" and David Lane's concept of the updated "context of the story world in which the characters are placed," this paper undertakes a critical examination of Patrick Marber's After Miss Julie (1995) as a creative rewrite of August Strindberg's Miss Julie (1888). The play appears to be both a faithful adaptation and appropriation of its model, reflecting "matches" for certain features of it and "mismatches" for others. So in spite of Marber's different language, his adjustment of the "temporal and spatial dimensions" of the original, and his several additions and omissions, he retains the same theme, characters, and—to a considerable extent, plot. To some extent, he manages to stick to his master's brand of Naturalism by retaining the special form of conflict upon which the action is based. In addition to its depiction of the failure of post-war class system, it shows strong relevancy to the spirit of the 1990s, both in its implicit critique of some aspects of feminism (especially its call for gender equality) and its bold address of the masculine concerns of that period.
    [Show full text]
  • THAI CHARMS and AMULETS by Q>Hya Anuman Cflajadhon Acting President, Royal Lnstitztte
    THAI CHARMS AND AMULETS by q>hya Anuman Cflajadhon Acting President, Royal lnstitztte Tbe belief in and use of charms and amulets as magical protec­ tion against dangers and misfortunes, and also to bring love, luck and power is a world-wide one. It is not confined to primitive races on! y, but also to be found among modern peoples of every nation and faith. In fact "the thought and practice of civilized peoples can not be cut off as with a knife from the underlying customs and beliefs which have played a determining part in shaping the resulting products, however much subsequent knowledge and ethical evaluation may have modified and transformed the earlier notions". 1 For this reason, every faith and religion has in one form or another certain cui ts and formulas, as inherited from the dim past and handed down from generation to generation, from the old belief of magic and superstition, which are paradoxically contrary to the real teaching of the religion's founder. This is inevitable; for the mass of humanity that forms the woof and warp of the woven fabric of faith of the great religions, is composed of many levels of culture. A.B. Griswold says in his "Doctrines and Reminders of Theravada Buddhism" that "within the Theravada there are two very different sorts of Buddhist­ rationalists and pious believers."2 This may be applied equally to other religions: there are always implicitly two sorts of believers within the same religion, the intellectuals and the pious people. It is with the latter that one can :find abundant phenomena of charms and amulets in belief and practice.
    [Show full text]
  • Miss Julie by August Strindberg
    MTC Education Teachers’ Notes 2016 Miss Julie by August Strindberg – PART A – 16 April – 21 May Southbank Theatre, The Sumner Notes prepared by Meg Upton 1 Teachers’ Notes for Miss Julie PART A – CONTEXTS AND CONVERSATIONS Theatre can be defined as a performative art form, culturally situated, ephemeral and temporary in nature, presented to an audience in a particular time, particular cultural context and in a particular location – Anthony Jackson (2007). Because theatre is an ephemeral art form – here in one moment, gone in the next – and contemporary theatre making has become more complex, Part A of the Miss Julie Teachers’ Notes offers teachers and students a rich and detailed introduction to the play in order to prepare for seeing the MTC production – possibly only once. Welcome to our new two-part Teachers’ Notes. In this first part of the resource we offer you ways to think about the world of the play, playwright, structure, theatrical styles, stagecraft, contexts – historical, cultural, social, philosophical, and political, characters, and previous productions. These are prompts only. We encourage you to read the play – the original translation in the first instance and then the new adaptation when it is available on the first day of rehearsal. Just before the production opens in April, Part B of the education resource will be available, providing images, interviews, and detailed analysis questions that relate to the Unit 3 performance analysis task. Why are you studying Miss Julie? The extract below from the Theatre Studies Study Design is a reminder of the Key Knowledge required and the Key Skills you need to demonstrate in your analysis of the play.
    [Show full text]
  • Whipping Girl
    Table of Contents Title Page Dedication Introduction Trans Woman Manifesto PART 1 - Trans/Gender Theory Chapter 1 - Coming to Terms with Transgen- derism and Transsexuality Chapter 2 - Skirt Chasers: Why the Media Depicts the Trans Revolution in ... Trans Woman Archetypes in the Media The Fascination with “Feminization” The Media’s Transgender Gap Feminist Depictions of Trans Women Chapter 3 - Before and After: Class and Body Transformations 3/803 Chapter 4 - Boygasms and Girlgasms: A Frank Discussion About Hormones and ... Chapter 5 - Blind Spots: On Subconscious Sex and Gender Entitlement Chapter 6 - Intrinsic Inclinations: Explaining Gender and Sexual Diversity Reconciling Intrinsic Inclinations with Social Constructs Chapter 7 - Pathological Science: Debunking Sexological and Sociological Models ... Oppositional Sexism and Sex Reassignment Traditional Sexism and Effemimania Critiquing the Critics Moving Beyond Cissexist Models of Transsexuality Chapter 8 - Dismantling Cissexual Privilege Gendering Cissexual Assumption Cissexual Gender Entitlement The Myth of Cissexual Birth Privilege Trans-Facsimilation and Ungendering 4/803 Moving Beyond “Bio Boys” and “Gen- etic Girls” Third-Gendering and Third-Sexing Passing-Centrism Taking One’s Gender for Granted Distinguishing Between Transphobia and Cissexual Privilege Trans-Exclusion Trans-Objectification Trans-Mystification Trans-Interrogation Trans-Erasure Changing Gender Perception, Not Performance Chapter 9 - Ungendering in Art and Academia Capitalizing on Transsexuality and Intersexuality
    [Show full text]
  • A Fire in Her Mind: Medicine, Gender Identity, and Strindberg's Miss Julie
    A Fire in Her Mind: Medicine, Gender Identity, and Strindberg’s Miss Julie A Research Community Proposal for the LARC grant, Summer 2016 Jonathan Cole Monique Bourque Mary Rose Branick Will Forkin Victoria Mohtes-Chan Jesse Sanchez Community Proposal A Fire in Her Mind: Medicine, Gender Identity, and Strindberg’s Miss Julie This LARC group will examine some of the biggest questions that underlie modernity: the nature of human nature, the role of “the natural” and scientific/medical authority in dictating and defining normal behavior, particularly in regard to sexuality; and the emergence of psychiatry as one of the human sciences. These emerging scientific ideas found an immediate home in nineteenth-century experimental theatre. Theatre artists, tired of the contrived plotlines and moralist, one- dimensional characters of the Melodrama, began to turn to the emerging tenets of behaviorism, genetics, and Social Darwinism in order to bring experiments in human behavior to the stage. Led by European artists-thinkers like Emile Zola, Andre Antoine, Otto Brahm, Henrik Ibsen and August Strindberg, experimental theatre strove to create a theatre praxis that utilized the theatre as an experiment: a way to observe human behavior. This artistic movement, loosely organized under the mantle of “Naturalism,” birthed Strindberg’s greatest work, Miss Julie. While the play itself fails as a piece of Naturalist theatre, Strindberg’s obsession with the inner workings of the human mind, with behavior, with heredity, bloodline, sexuality and fealty/fidelity created in Jean and Julie two of the most fascinating characters in theatre literature. These characters are inexorably linked to Strindberg’s understanding of the science of the time.
    [Show full text]
  • Bureau of Customs and Border Protection CBP Decisions (CBP Dec
    Bureau of Customs and Border Protection CBP Decisions (CBP Dec. 04–17) FOREIGN CURRENCIES DAILY RATES FOR COUNTRIES NOT ON QUARTERLY LIST FOR MAY, 2004 The Federal Reserve Bank of New York, pursuant to 31 U.S.C. 5151, has certified buying rates for the dates and foreign currencies shown be- low. The rates of exchange, based on these buying rates, are published for the information and use of Customs officers and others concerned pursuant to Part 159, Subpart C, Customs Regulations (19 CFR 159, Subpart C). Holiday(s): May 31, 2004 European Union euro: May 1, 2004 ................................................. $1.197500 May 2, 2004 ................................................. 1.197500 May 3, 2004 ................................................. 1.193700 May 4, 2004 ................................................. 1.207600 May 5, 2004 ................................................. 1.216500 May 6, 2004 ................................................. 1.209000 May 7, 2004 ................................................. 1.188500 May 8, 2004 ................................................. 1.188500 May 9, 2004 ................................................. 1.188500 May 10, 2004 ................................................ 1.183400 May 11, 2004 ................................................ 1.181800 May 12, 2004 ................................................ 1.191100 May 13, 2004 ................................................ 1.180100 May 14, 2004 ................................................ 1.187400 May 15, 2004
    [Show full text]
  • Roster of the New York State Fire Tower Forest Fire Observers
    Roster of the New York State Fire Tower Forest Fire Observers By Bill Starr State Director of the Forest Fire Lookout Association Forest Fire Observer – Pillsbury Mountain © Copyright 2009 Unpublished Work Roster of the New York State Fire Tower Forest Fire Observers Table of Content: Introduction…………………………………1 The Roster…………………………………...2 List of the NYS Fire Towers….....................56 February 2009 Fire Tower Inventory……..59 Fire Tower Location Map………………….60 Number of Fires Spotted Graph…………...60 Historical Notes on Certain Fire Towers….61 Roster of the NYS Forest Fire Observers from the payroll file of the Bureau of Forest Fire Control 1911 – 1972 © Copyright 2009 Unpublished Work by Bill Starr The following roster of the New York State Forest Fire Observers was compiled from the index card payroll file of the Bureau of Forest Fire Control from 1911 through 1972. Although at least half of the fire towers operated beyond 1972 payroll records for that period do not seem to exist and the likelihood that any of these records might be found are remote. For that reason this is an incomplete accounting of all the Observers, but it is the most comprehensive source available. Dates are provided for the Observers who staffed the fire towers in the Adirondack and Catskill regions beyond 1972 which were obtained from the books by Martin Podskoch; The Catskill Fire Towers; Their History and Lore and The Adirondack Fire Towers; Their History and Lore - Northern and Southern Districts. Yet these records too are incomplete as they are from the recollections of the people interviewed by Mr. Podskoch.
    [Show full text]
  • The Philosophers' Stone: Alchemical Imagination and the Soul's Logical
    Duquesne University Duquesne Scholarship Collection Electronic Theses and Dissertations Fall 2014 The hiP losophers' Stone: Alchemical Imagination and the Soul's Logical Life Stanton Marlan Follow this and additional works at: https://dsc.duq.edu/etd Recommended Citation Marlan, S. (2014). The hiP losophers' Stone: Alchemical Imagination and the Soul's Logical Life (Doctoral dissertation, Duquesne University). Retrieved from https://dsc.duq.edu/etd/874 This Immediate Access is brought to you for free and open access by Duquesne Scholarship Collection. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Duquesne Scholarship Collection. For more information, please contact [email protected]. THE PHILOSOPHERS’ STONE: ALCHEMICAL IMAGINATION AND THE SOUL’S LOGICAL LIFE A Dissertation Submitted to the McAnulty College and Graduate School of Liberal Arts Duquesne University In partial fulfillment of the requirements for the degree of Doctor of Philosophy By Stanton Marlan December 2014 Copyright by Stanton Marlan 2014 THE PHILOSOPHERS’ STONE: ALCHEMICAL IMAGINATION AND THE SOUL’S LOGICAL LIFE By Stanton Marlan Approved November 20, 2014 ________________________________ ________________________________ Tom Rockmore, Ph.D. James Swindal, Ph.D. Distinguished Professor of Philosophy Professor of Philosophy Emeritus (Committee Member) (Committee Chair) ________________________________ Edward Casey, Ph.D. Distinguished Professor of Philosophy at Stony Brook University (Committee Member) ________________________________ ________________________________ James Swindal, Ph.D. Ronald Polansky, Ph.D. Dean, The McAnulty College and Chair, Department of Philosophy Graduate School of Liberal Arts Professor of Philosophy Professor of Philosophy iii ABSTRACT THE PHILOSOPHERS’ STONE: ALCHEMICAL IMAGINATION AND THE SOUL’S LOGICAL LIFE By Stanton Marlan December 2014 Dissertation supervised by Tom Rockmore, Ph.D.
    [Show full text]
  • Reverse the Curse: Colonialist Legacies of the Magic Poem
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2019 Reverse the Curse: Colonialist Legacies of the Magic Poem Karen E. Lepri The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2984 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] REVERSE THE CURSE: COLONIALIST LEGACIES OF THE MAGIC POEM by KAREN LEPRI A dissertation submitted to the Graduate Faculty in English in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2019 ii © 2019 KAREN LEPRI All Rights Reserved iii Reverse the Curse: Colonialist Legacies of the Magic Poem by Karen Lepri This manuscript has been read and accepted for the Graduate Faculty in English in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. ______________________________ ______________________________ [Date] Wayne Koestenbaum Chair of Examining Committee ______________________________ ______________________________ [Date] Eric Lott Executive Officer Supervisory Committee: Wayne Koestenbaum Kandice Chuh Peter Hitchcock THE CITY UNIVERSITY OF NEW YORK iv ABSTRACT Reverse the Curse: Colonialist Legacies of the Magic Poem by Karen Lepri Adviser: Professor Wayne Koestenbaum This dissertation investigates the conceptual relationships between poetry, magic, and race and their effects on both intellectual and creative practices from modernism through the post-war era. In doing so, this study works cross-disciplinarily, tracing early anthropological and sociological characterizations of primitive religion in connection to early-to-mid-twentieth- century literary study and writing.
    [Show full text]
  • ICN1896-11-05.Pdf
    ||i|ff'I'aHrsaity^':^^^ Fall and Winter Trade. „||«s:|^i-MaryfRea8d ' bfiers prime Attractions to be found nowhere else. Pi^ 'yi*tt«(f at Mrs; 1)arraU'a oil Suiid«y. ^ ||;^iv;i::Mr.^''.:atid'.;; Mrs;''H;'vdiwMbrbok. oiT VOL. XXXVm-NO. 4.5. Spent in our store will save you $86.00 on your Fall busring. Will you call on us when MASON. MICH., THUBSDAY, NOVEMBER o. 1896. WHOLE NO. 19T4. );i<ivS;i.;Giraitdliedge visited «t A. D. Feitou'i rtment ' in town P Make yourself at home and ask to be shown the goods and prices for the fefiPon^Suhday.-. ;--v.:';'V,;. • Has some particular claim on your attention, ofTei-s something irU::.i;. CarlOlboaerorLanilHgisvliitlogat you are bound to want. ' season. The PEOPLE'S STORE is the regulator of values. Don't buy until you see us* FB MO JTAijfBirrioir. ^,.^i:l»l8.uneie'9,,-. • • ••:' ; Bear in mind that we lead the county in prices and quality on ;$f;|i;i'^''l?A."ft^ iiilver^hit*Btiiig'Tueiiday''''even» Mn. Jolin ttlokniBD li in Detrottthti woolt, LAMPS—Banquet, OBOOKBBTand THE PEOPLE WIN Orrln Freetand and Fred Searle came honi* f sE'itv ;The Li. A;;S.V will meet with Mn. ^Tlano,^ • FANCY CHINA. to vote. We Hon! Jiisi Rttii |-*^--'^^-^^-M^^fcJameiiHuiettNov.'4.;j':,,,;v'.^ , > . _ M. K. Bkcon or Jackson wu In tbe otty lut if))- .'^^ iVfiiinle Guiiither were at Vaieand We have this season** JACKETS AND CAPES ThurMtny. M Biits il MMM jti^iir'ttouie^overSunday. Qlaas Lamp* and One thousand pieces of bcttut: choice patterns.
    [Show full text]
  • After Miss Julie” by Patrick Marber, 1995, After Strindberg
    Educational material: “After Miss Julie” By Patrick Marber, 1995, after Strindberg Lektor: Birgitte Holm Halkjær Birkerød Gymnasium, HF og IB That-theatre Company spring 2017 A study of the original “Miss Julie” Task: In pairs. Search google and find out who wrote “Miss Julie, 1888”? Task: In pairs. Search google and find out what did the original “Miss Julie” deal with? Write down a brief summary of the original “Miss Julie”. 1 Task: In pairs. Translate into Danish: “Strindberg´s work in the theatre was largely written in revolt against contemporary social conventions and was startlingly modern and radical for the time”. Try and apply that statement to Strindberg´s play “Miss Julie”. A study of the author of “After Miss Julie” Task: In pairs. Comment on the title of the play that you are about to read and work with in class. Why do you think the play is called “After Miss Julie”? While reading the play find out if there is any direct reference to the title? Task: In pairs, translate the following into Danish: “Patrick Albert Crispin Marber is an English comedian, playwright, director, puppeteer, actor and screenwriter. After working for a few years as a stand-up comedian, Marber was a writer and cast member on radio shows…”. In pairs, 2 search google and find out more about Marber and his life and works. Next, write a little more about Patrick. A study of Strindberg versus Marber Task: In pairs. Compare and contrast the play “Miss Julie” with the play “After Miss Julie”. How is the “free-spirit” of Strindberg´s play, “Miss Julie”, presented in Marber´s play “After Miss Julie” ? Any similarities/ differences between Strindberg´s play and Marber´s play? Both when it comes to content and form.
    [Show full text]