Foreign Literature
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Baudelaire 525 Released Under Creative Commons Attribution-Noncommercial Licence
Table des matières Préface i Préface des Fleurs . i Projet de préface pour Les Fleurs du Mal . iii Preface vi Preface to the Flowers . vi III . vii Project on a preface to the Flowers of Evil . viii Préface à cette édition xi L’édition de 1857 . xi L’édition de 1861 . xii “Les Épaves” 1866 . xii L’édition de 1868 . xii Preface to this edition xiv About 1857 version . xiv About 1861 version . xv About 1866 “Les Épaves” . xv About 1868 version . xv Dédicace – Dedication 1 Au Lecteur – To the Reader 2 Spleen et idéal / Spleen and Ideal 9 Bénédiction – Benediction 11 L’Albatros – The Albatross (1861) 19 Élévation – Elevation 22 Correspondances – Correspondences 25 J’aime le souvenir de ces époques nues – I Love to Think of Those Naked Epochs 27 Les Phares – The Beacons 31 La Muse malade – The Sick Muse 35 La Muse vénale – The Venal Muse 37 Le Mauvais Moine – The Bad Monk 39 L’Ennemi – The Enemy 41 Le Guignon – Bad Luck 43 La Vie antérieure – Former Life 45 Bohémiens en voyage - Traveling Gypsies 47 L’Homme et la mer – Man and the Sea 49 Don Juan aux enfers – Don Juan in Hell 51 À Théodore de Banville – To Théodore de Banville (1868) 55 Châtiment de l’Orgueil – Punishment of Pride 57 La Beauté – Beauty 60 L’Idéal – The Ideal 62 La Géante – The Giantess 64 Les Bijoux – The Jewels (1857) 66 Le Masque – The Mask (1861) 69 Hymne à la Beauté – Hymn to Beauty (1861) 73 Parfum exotique – Exotic Perfume 76 La Chevelure – Hair (1861) 78 Je t’adore à l’égal de la voûte nocturne – I Adore You as Much as the Nocturnal Vault.. -
National FUTURE FARMER, Insurance Company 14 Columbus Cycle Company
The National Futuie Farmer Owned and Published by the Future Farmers of America Livestock Judging—Where skills are tested! October -November, 1960 In This issue: • Corner Your Fencing Problems • Mechanizing iVIanagement o A Farm Visit With Your Vice Presidents • How Would You Vote? ip X :>--f-"%.^<^' Doors are double-sealed against weather, cabs seat three passengers comfort- ably. Standard V-8 engines are true-truck designed . plenty of power for pulling, passing or any purpose. Specialized highway units transport any farm com- modity with dependable gas, diesel or LPG power. For family pleasure ...farm profit! International Trucks arc still ready to go, even when a full day's work is done. You'll find they're styled for easier, safer driving, across country and through town. Wide, fully-adjustable seat and more glass front and rear make this .so. These hard-working models range from INTERNATIONAE pickups with standard or Bonus-Load bodies to husky road haulers that handle big loads at least cost. So see your International Dealer TRUCKS or Internalional Harvester Co Branch now to learn how . ChicaRO International Motor Trucks • Crawler Tractors Construction • 5 Tnicks s i\ (' you money on every job. Equipment McCormick Farm Equipment ant] Farmall'i^ Tractors WORLD'S MOST COMPLETE LINE Raymond Hetherington. Ringtown, Pennsylvania Farmers you look to as leaders look to Firestone for farm tires Mountains and ridges in the heart of the Pennsylvania coal country are laced with level valleys. In Schuylkill County's Ringtown Valley, modern methods and irrigation help Raymond Hetherington wrest high yields of quality vegetables and other crops. -
Vol. 73, No. 7JULY/AUGUST 1968 Published•By Conway Hall
Vol. 73, No. 7JULY/AUGUST 1968 CONTENTS Eurnmum..• 3 "ULYSSES": THE BOOK OF THE FILM . 5 by Ronald Mason THE PHENOMENOLOGY OF RELIGION . 8 by Dr. H. W. Turner JEREMY BENTFIAM .... 10 by Maurice Cranston, MA MAXIM GORKY•••• • 11 by Richard Clements, aRE. BOOK REVIEW: Gown. FORMutEncs. 15 by Leslie Johnson WHO SAID THAT? 15 Rum THE SECRETARY 16 TO THE EDITOR . 17 PEOPLEOUT OF 11113NEWS 19 DO SOMETHINGNICE FOR SOMEONE 19 SOUTH PLACENaws. 20 Published•by Conway Hall Humanist Centre Red Um Square, London, Wel SOUTH PLACE ETHICAL SOCIETY Omens: Secretary: Mr. H. G. Knight Hall Manager and Lettings Secretary: Miss E. Palmer Hon. Registrar: Miss E. Palmer Hon. Treasurer: Mr. W. Bynner Editor, "The Ethical Record": Miss Barbara Smoker Address: Conway Hall Humanist Centre, Red Lion Square, London, W.C.I (Tel.: CHAncery 8032) SUNDAY MORNING MEETINGS, II a.rn. (Admission free) July 7—Lord SORENSEN Ivory Towers Soprano solos: Laura Carr. July 14—J. STEWART COOK. BSc. Politics and Reality Cello and piano: Lilly Phillips and Fiona Cameron July 21—Dr. JOHN LEWIS The Students' Revolt Piano: Joyce Langley SUNDAY MORNING MEETINGS are then suspended until October 6 S.P.E.S. ANNUAL REUNION Sunday, September 29, 1968, 3 p.m. in the Large Hall at CONWAY HUMANIST CENTRE Programme of Music (3 p.m.) Speeches by leaders of Humanist organisations (3.30 P.m.) Guest of Honour: LORD WILLIS Buffet Tea (5 p.m.) Tickets free from General Secretary CONWAY DISCUSSIONS will resume on Tuesdays at 6.45 p.m. from October 1 The 78th season of SOUTH PLACE SUNDAY CONCERTS will open on October 6 at 6.30 p.m. -
Bowliîo&Ebîstate University Library
THE DRAMATURGY OF LUDVIG HOLBERG'S COMEDIES Gerald S. Argetsinger A Dissertation Submitted to the Graduate School of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 1975 BOWLIÎO&EBÎ STATE UNIVERSITY LIBRARY © 1975 GERALD SCOTT ARGETSINGER ALL RIGHTS RESERVED il ABSTRACT This study first described Ludvig Holberg's dramaturgy and then identified the characteristics which • have engendered the comedies' continued popularity. All of the prior Holberg research was studied, but most of the understanding of the comedies came through the careful studying of the playscripts. Holberg's form was greatly influenced by the comedies of Moliere and the Commedia dell' Arte. The content and tone were influenced by the comedies of Ben Jonson and George Farquhar. Holberg wrote for, and was best liked by, the middle class. At first, scholars found his plays crass and inferior. But only twenty years after his death, the plays were accepted as the foundation of the Royal Danish Theatre’s repertory. Holberg created comic characters based upon middle class types. The characters’ speech is almost strictly everyday, Copenhagen Danish. Little was done to linguistically individualize speech except when it was an integral part of the satire of the play. Holberg was also adept at writing jokes. He was a master at creating comic situations. These situations give the characters a setting in which to be funny and provide a foundation for intrigues and other comic business. The visual aspects of the early productions were not important. After careful investigation, it was concluded that Holberg's plays did not succeed, as previous writings tend to assume, because of the "Danishness” of the characters. -
Sophocles' Antigone Reworked in the Twentieth
NEW VOICES IN CLASSICAL RECEPTION STUDIES Issue 12 (2018) SOPHOCLES’ ANTIGONE REWORKED IN THE TWENTIETH CENTURY: THE CASE OF HASENCLEVER’S ANTIGONE (1917) © Rossana Zetti (University of Edinburgh) INTRODUCTION AND CONTEXTUALIZATION This article examines a little-known example of Antigone’s reception in the twentieth century: the adaptation by the German expressionist writer Walter Hasenclever. This version is the first and arguably most innovative of several European adaptations of Sophocles’ play to appear in the first half of the twentieth century. Although successful at the time of its production, Hasenclever’s Antigone is scarcely read in contemporary scholarship and is discussed mainly in German-language scholarship.1 Whereas Flashar’s wide-ranging study, in German, refers to Hasenclever’s drama (Flashar 2009: 127– 29), in Fischer-Lichte’s 2017 book Tragedy’s Endurance, in English, Hasenclever appears only in one endnote (Fischer-Lichte 2017: 143). The only English translation of the play available (Ritchie and Stowell 1969: 113–60) is rather out of date and inaccessible. Hasenclever’s Antigone is briefly mentioned in Steiner’s essential reference book Antigones (Steiner 1984: 142; 146; 170; 218), in the chapter on Antigone in the recent Brill’s Companion to the Reception of Sophocles (Silva 2017: 406–7) and in Cairns’ 2016 book on Sophocles’ Antigone (Cairns 2016: 133). However, it is absent in some of the most recent contributions dedicated to the play’s modern reception, including Wilmer’s and Žukauskaitė’s edited collection on Antigone in postmodern thought (2010), Mee’s and Foley’s essays (2011) discussing adaptations of Antigone staged around the world, and Morais’, Hardwick’s and Silva’s recent volume (2017).2 The absence of Hasenclever from contemporary scholarship can be explained by the fact that his Antigone lacks the complexity of later adaptations, such as Anouilh’s and Brecht’s. -
Louise Michel
also published in the rebel lives series: Helen Keller, edited by John Davis Haydee Santamaria, edited by Betsy Maclean Albert Einstein, edited by Jim Green Sacco & Vanzetti, edited by John Davis forthcoming in the rebel lives series: Ho Chi Minh, edited by Alexandra Keeble Chris Hani, edited by Thenjiwe Mtintso rebe I lives, a fresh new series of inexpensive, accessible and provoca tive books unearthing the rebel histories of some familiar figures and introducing some lesser-known rebels rebel lives, selections of writings by and about remarkable women and men whose radicalism has been concealed or forgotten. Edited and introduced by activists and researchers around the world, the series presents stirring accounts of race, class and gender rebellion rebel lives does not seek to canonize its subjects as perfect political models, visionaries or martyrs, but to make available the ideas and stories of imperfect revolutionary human beings to a new generation of readers and aspiring rebels louise michel edited by Nic Maclellan l\1Ocean Press reb� Melbourne. New York www.oceanbooks.com.au Cover design by Sean Walsh and Meaghan Barbuto Copyright © 2004 Ocean Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photo copying, recording or otherwise, without the prior permission of the publisher. ISBN 1-876175-76-1 Library of Congress Control No: 2004100834 First Printed in 2004 Published by Ocean Press Australia: GPO Box 3279, -
View / Download
ELECTRYONE ΗΛΕΚΤΡΥΩΝΗ A kinesiological approach to the role of the Chorus in Aristophanes’ Plutus Ioanna Mastora Ph.D. Phil, Athens University, Postdoctoral Researcher, Athens University Department of Philosophy [email protected] ABSTRACT: The article attempts to present basic elements of political ideology that can be found on the choral performances of the Aristophanes’ comedy named “Plutus”, which is his last surviving work. The comedy was presented to the Athenian audience in 388 BC to glorify and demonstrate the unfair distribution of wealth and the social inequalities, while highlighting the decline of human values. In spite of the fact that in this work the Chorus has a diminished role nevertheless refers to the unjust distribution of wealth and the explosion of corruption with an interesting kinesiological approach. KEY-WORDS: Ancient comedy, Chorus, Plutus Aristophanes was an Athenian satirist poet of the 5th century. He lived (from 445 BC until 386 BC) and grew up in Athens, in the years that "The Comedy", as Aristotle writes, "was initiated by the top of the Fallicans, who even today [in the 4th Ioanna Mastora _____________________________________________________________________ century BC. Century] have been left and celebrated in many cities"1. The “phallics” were customary songs sung by groups of celebrities at Dionysus' agricultural feasts, featuring dummies of the male genitalia, the phallus. Their comic, often life-styled, disguises, immeasurable gall, bold personal teasing, and coarse, improvised satirical scenes. Phallic songs emerged from Dithyrambus a kind of Bacchic poetry and were full of ribaldry and personal ridicule2 that that the dancers were singing in honor of Dionysus3 Contemporary to the Peloponnesian War (431-404), which marked the fall of the Athenian Republic, Aristophanes top comedian of antiquity deals with the deterioration and the decline of values. -
299 Albanian Issue and American Diplomacy in the Paris Peace
ISSN2039Ͳ9340MediterraneanJournalofSocialSciencesVol.3(10)July2012 Albanian Issue and American Diplomacy in the Paris Peace Conference in the Light of New Historical Sources Majlinda Peza (Perriu) Ph.D.Candidate University of Elbasan, Albania E-mail: [email protected] Andriola Morina (Kambo) University of Tirana, Albania E- mail: [email protected] Abstract: Through the accumulation of the facts and the interpretation of the historical sources, this scientific work tends to give a full picture of the valuable contribution of american diplomacy, it’s representative at the Paris Peace Conference, president Wilson and american public opinion toward the albanian issue in the years 1919 – 1920. In respect of this approach, we have seen a period of extraordinary awareness of the american press of the time in favor of the albanian issue, direct result of the valuable contribution of the albanian diaspora in USA., organized in the federation “hearth”. simultaneously, as a representative of this federation, we have to mention the direct commitment and contribution in defense of the albanian issue, Fan S. Noli, which is evidenced in his meeting with president Wilson, taking his promise which he will make a reality in the Paris Peace Conference. This research will be based on analysis of historical resources before and after years ‘90, seeing from comparative context. Key words: Paris Peace Conference , “Vatra” federation, albanian diaspora, president Wilson. 1. Introduction Experience of establishing consolidating Ballkan States in XIX-XX centuries, showed that the selection and determination of the allies has been one of the key factors and in some cases determining the direction of flow of political and economic development of these country. -
International Journal of Arts and Humanities
International Journal of Arts and Humanities ISSN: 2581-3102 Volume:05,Issue:01 “February2021” ALBANIAN OFFICIAL REPRESENTATION AT THE PARIS PEACE CONFERENCE 1919 (POLITICAL AND MEDIA REACTION) Rudina MITA Prof. Assoc. Dr. at the Faculty of Humanities, "Aleksander Xhuvani" University, Elbasan, Republic of Albania https://doi.org/10.46609/IJAH.2021.v05i01.002 ABSTRACT Some events in Albanian historiography have been interpreted in different ways in different periods. Before the 90s of the XX century, in Albania there was the same political force, which had won World War II. This governing force had as a vital principle the expression "We won the war, we write history". History was not compromised in scientific chronological accuracy but in its interpretive mode. Events that contradicted communist ideology were either left in oblivion or distorted in interpretation. One of these events was the participation of the official Albanian Representation in the Paris Peace Conference in 1919. The purpose of this paper is to shed some light on this important historical event for Albania and Albanians. The paper itself aims to present the circumstances in which the official Albanian representation was elected, the participation in this conference, its position, the lobbying carried out in the interest of Albania and the Albanians, and the influence of the pro - Italian wing in it. The article is based on historiographical, memorial and media sources. The methodology used is that based on scientific research and research, as well as comparative methods in the interpretive confrontation of this event within the boundaries of the two Albanian historiographical periods before the "90 and after" 90 of the XX century. -
Communications from the International Brecht Society. Vol. XIII, No. 2 April 1984
Communications from the International Brecht Society. Vol. XIII, No. 2 April 1984 San Antonio, Texas: International Brecht Society, Inc., April 1984 https://digital.library.wisc.edu/1711.dl/M3HLL3GNJRCAF8S http://rightsstatements.org/vocab/InC/1.0/ Copyright International Brecht Society. Used with Permission. The libraries provide public access to a wide range of material, including online exhibits, digitized collections, archival finding aids, our catalog, online articles, and a growing range of materials in many media. When possible, we provide rights information in catalog records, finding aids, and other metadata that accompanies collections or items. However, it is always the user's obligation to evaluate copyright and rights issues in light of their own use. 728 State Street | Madison, Wisconsin 53706 | library.wisc.edu - ORR IPE RII DENIC RIR SOCIO SSC Seca ON een er ORE Oo SAN RR NAR RCO SNR IN AN ga ad tease eRe NN = Te TR OMRON ANNs sR ae RR il 7~—_ Se MRS EE Sey Beene ME ee Ss Ber ae ee cee BSP ae NCR ee S nee Sea Renee . “OSI RRR nS NR BR CRE ER RCs. NEO SORES SS AOL ORCS Dt as ~ Perea pS VS ORR 5 cams Ee GENO. a Bee RRM Re Ree. TRNAS OO LE NERS mE REE SOS Pon an ME , BK tin, OSORRRR ED SS. : “UN SES ae San Gorter e " ie * OS Se a Re ae ee BBR Ss SO RR RES ROS nearer Besa cen: 8 >. BU ee : RRM Cm Ree MRR eg ESS BOR eget ne. oy BEES AFR ean Nan ee ee athe Ae oe i, a a _ ees AR, o 3 Eee era Ni OSE €i : RRS raster oe ne eA ge OR NDS SED TO a See ees BR SOR Sa Rea ss Se ee lee. -
Ingram's :: 40 Under Forty
Ingram's :: 40 Under Forty HOME | ABOUT US | MEDIA KIT | CONTACT US | REGISTER 67° NEWS BLOGS PUBLICATIONS AWARDS EVENTS 40 Under Forty Leadership? Check. We can’t get into this without some ground rules, so right off the bat: If the Baby Boom covered the period from 1946 to 1964, what defines Generation X and the Millennials? Only a gaggle of eggheads like social scientists could take such a simple question and turn it into a series of “yes, buts …” and argue that Generation X started as early as 1961, or runs from—get this—1964-1974. A generation in 10 years? Please. Millennials, too, have been saddled with undefined starting points. We get it: Generations aren’t all neatly defined by starting and finish lines. One of our favorite stories about the Baby Boomers entails a man born on the leading edge in 1946, who became a parent at age 18, in 1964. His daughter, technically, was a Boomer, too, but they clearly weren’t of the same “generation.” With that in mind, any exploration of gener-ational leadership requires a definition. To be consistent with the traditional Boomer measure of 1946-1964, a like period for Gen-X would run 1965-1983, and 1984 until the end of 2001 for Millennials. OK, so it runs a year past the start of the most recent millennium. Deal with it. Many societal pundits have commented on the barbell effect that they say puts Gen-X at a huge disadvantage to either the leading or trailing generations in terms of their sheer numbers. -
Weill, Kurt (Julian)
Weill, Kurt (Julian) (b Dessau, 2 March 1900; d New York, 3 April 1950). German composer, American citizen from 1943. He was one of the outstanding composers in the generation that came to maturity after World War I, and a key figure in the development of modern forms of musical theatre. His successful and innovatory work for Broadway during the 1940s was a development in more popular terms of the exploratory stage works that had made him the foremost avant- garde theatre composer of the Weimar Republic. 1. Life. Weill‟s father Albert was chief cantor at the synagogue in Dessau from 1899 to 1919 and was himself a composer, mostly of liturgical music and sacred motets. Kurt was the third of his four children, all of whom were from an early age taught music and taken regularly to the opera. Despite its strong Wagnerian emphasis, the Hoftheater‟s repertory was broad enough to provide the young Weill with a wide range of music-theatrical experiences which were supplemented by the orchestra‟s subscription concerts and by much domestic music-making. Weill began to show an interest in composition as he entered his teens. By 1915 the evidence of a creative bent was such that his father sought the advice of Albert Bing, the assistant conductor at the Hoftheater. Bing was so impressed by Weill‟s gifts that he undertook to teach him himself. For three years Bing and his wife, a sister of the Expressionist playwright Carl Sternheim, provided Weill with what almost amounted to a second home and introduced him a world of metropolitan sophistication.