The Skriker (NHB Modern Plays)
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Canadian Guiding Badges and Insignia Brownie Six/Circle Emblems
Canadian Guiding Badges And Insignia Brownie Six/Circle Emblems Following the introduction of the Brownie program to provide Guiding for younger girls, and after the decision to base the new program on The Brownie Story, a further decision was made in 1919 to subdivide a Brownie Pack into smaller groups consisting of six girls. These smaller groups within the Pack were known as Sixes and were identified by a Six emblem bearing the name of some mythical fairy- like person from folklore. [Reference: POR (British, 1919)] The original Six emblems were brown felt; later versions were brown cotton with the edges bound in brown. In 1995, the term “Sixes” was replaced by the term “Circles”, and the shape of the emblems was changed as well. In 1972, three of the original twelve Six emblems were retired and in 1995 four new ones were added. Page 1 V.2 Canadian Guiding Badges And Insignia Brownie Six/Circle Emblems SC0001 SC0002 Bwbachod Badge Discontinued 1919- 19? 19? - 1972 SC0003 SC0004 Djinn Introduced 1994 1995-2004 1994 SC0005 SC0006 Dryad Introduced 1994 1995- 1994 Page 2 V.2 Canadian Guiding Badges And Insignia Brownie Six/Circle Emblems SC0007 SC0008 SC0009 Elf 1919-19? 19? - 1995 1995- SC0010 SC0011 SC0012 Fairy 1919-19? 19? - 1995 1995- SC0013 SC0014 Ghillie Dhu Badge Discontinued 1919-19? 19? - 1972 Page 3 V.2 Canadian Guiding Badges And Insignia Brownie Six/Circle Emblems SC0015 SC0016 SC0017 Gnome 1995- 1919-19? 19? - 1995 SC0018 SC0019 Imp Badge Discontinued 1919-19? 19? - 1995 SC0020 SC0021 SC0022 Kelpie (formerly called Scottish -
Notes on the Folk-Lore of the Northern Counties of England and The
S*N DIEGO) atitty, ESTABLISHED IN . THE YEAK MDCCCLXXVIII Alter et Idem. PUBLICATIONS OF THE FOLK-LOKE SOCIETY. II. LONDON: PRINTED BY NICHOLS AND SONS, STREET. 25, PARLIAMENT FOLK-LORE OP THE NORTHERN COUNTIES OF ENGLAND AND THE BORDERS. A NEW EDITION WITH MANY ADDITIONAL NOTES. BY WILLIAM HENDERSON, AUTHOR OF " MY LIFE AS AN ANGLER." " Our mothers' maids in our childhood . have so frayed us with hullbeggars, spirits, witches, urchins, elves, hags, fairies, satyrs, pans, faunes, sylvans.kit-with-the-candlestick (will-o'-the-wisp), tritons (kelpies), centaurs, dwarfs, giants, imps, calcars (assy-pods), conjurors, nymphs, changelings, incubus, Rohin-Goodfellow (Brownies), the spoorey, the man in the oak, the hellwain, the firedrake (dead light), the Puckle, Tom Thumb, Hobgoblin, Tom Tumbler, Bouclus, and such other bug- bears, that we are afraid of our own shadows." REGINALD SCOTT. LONDON: PUBLISHED FOR THE FOLK-LORE SOCIETY BY W. SATCHELL, PEYTON AND CO., 12, TAVISTOCK STREET, COVENT GARDEN. W.C. 1879. TO THE MOST HONOURABLE THE MARQUESS OF LONDONDERRY, IN EEMEMBRANCE OF MUCH KINDNESS AND OF MANY PLEASANT HOURS SPENT TOGETHER, THIS VOLUME IS, BY PERMISSION, INSCRIBED WITH EVERY SENTIMENT OE RESPECT AND ESTEEM BY HIS LORDSHIP'S ATTACHED FRIEND, WILLIAM HENDERSON. VI The Council of the Folk-Lore Society, in issuing this work as one of the publications for the year 1879, desire to point out to the Members 'that it is chiefly owing to the generous proposal of Mr. Henderson they arc enabled to produce in the second year of the Society's existence a book so much appreciated by the Folk-Lore student. -
The Last Train Changeling
SW00121 & SW00122 CHANGELING by angela forrest THE LAST TRAIN by val ormrod CHANGELING by Angela Forrest September, 2015 He isnae mine, hasnae been for twelve years. I know that now. It took a good long while tae admit it and I’ve tried tae make up for lost time, for a’ the years I dithered about whether or not it wis true. These last few years especially I’ve done ma best, done right by Lorna and wee Olivia even if they couldnae understand. They don’t know whit he is. They don’t know Bradley left us a long time ago, that day in the woods. September, 2003 This is ma favourite place. The way the trees come crowing up tae the shore of the loch, closing us in tae our own wee private beach: ye cannae beat it. Lorna’s minding the baby, letting her roll around on the picnic blanket among the half-chewed cheese and ham pieces. She’s still a stunner, my Lorna, even after having two weans. Run ragged looking after them, so she is, but ye’d never know it looking at her. She’s kept her hair long and bonny, not like a lot of they mum’s I see at the school gates. I catch her eye and she gies me a wink and a smile, holding up Olivia’s wee hand to wave at me. I wave back at ma girls and have a check in with ma boy. He’s near enough up tae my waist now. He’s trying tae skip stones across the water but they’re landing wi’ splattering plops. -
'Goblinlike, Fantastic: Little People and Deep Time at the Fin De Siècle
ORBIT-OnlineRepository ofBirkbeckInstitutionalTheses Enabling Open Access to Birkbeck’s Research Degree output ’Goblinlike, fantastic: little people and deep time at the fin de siècle https://eprints.bbk.ac.uk/id/eprint/40443/ Version: Full Version Citation: Fergus, Emily (2019) ’Goblinlike, fantastic: little people and deep time at the fin de siècle. [Thesis] (Unpublished) c 2020 The Author(s) All material available through ORBIT is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email ‘Goblinlike, Fantastic’: Little People and Deep Time at the Fin De Siècle Emily Fergus Submitted for MPhil Degree 2019 Birkbeck, University of London 2 I, Emily Fergus, confirm that all the work contained within this thesis is entirely my own. ___________________________________________________ 3 Abstract This thesis offers a new reading of how little people were presented in both fiction and non-fiction in the latter half of the nineteenth century. After the ‘discovery’ of African pygmies in the 1860s, little people became a powerful way of imaginatively connecting to an inconceivably distant past, and the place of humans within it. Little people in fin de siècle narratives have been commonly interpreted as atavistic, stunted warnings of biological reversion. I suggest that there are other readings available: by deploying two nineteenth-century anthropological theories – E. B. Tylor’s doctrine of ‘survivals’, and euhemerism, a model proposing that the mythology surrounding fairies was based on the existence of real ‘little people’ – they can also be read as positive symbols of the tenacity of the human spirit, and as offering access to a sacred, spiritual, or magic, world. -
Selected Credits
Anne Dixon Costume Designer - Wardrobe Selected Credits: Costume Designer Anne, Season 1 Producer: Miranda de Pencier, Sue 2016-2017 Northwood Anne Inc. Murdoch, Moira Walley-Beckett Television Series Director: Various Production Manager: Teresa Ho Director of Photography: Bobby Shore Production Designer: Jean-Francois Campeau Costume Designer Our House Producer: Lee Kim, Marty Katz, Karen 2016 Our House Films Canada Inc. Wookey Feature Director: Anthony Scott Burns Production Manager: Sam Jephcott Director of Photography: Anthony Scott Burns Production Designer: Naz Goshtasbpour Costume Designer Shoot The Messenger, Producer: Jennifer Holness, Sudz 2015 Season 1 Sutherland, Victoria Woods Television Series Shoot the Messenger Director: Various Productions 1 Inc. Production Manager: Nancy Jackson Director of Photography: Arthur Cooper Production Designer: Rupert Lazarus Costume Designer Lavender Producer: Dave Valleau Lavender Films Inc. Director: Ed Gass-Donnelly Feature Production Manager: Aaron Barnett Director of Photography: Brendan Stacey Production Designer: Oleg Savitsky Costume Designer Born to Be Blue Producer: Jennifer Jonas, Leonard BTB Blue Productions Ltd. Farlinger, Robert Budreau Feature (NOHFC) Director: Robert Budreau Production Manager: Avi Federgreen Production Designer: Aidan Leroux Costume Designer Total Frat Movie Producer: Robert Wertheimer, Neil Digerati Films Inc. Bregman Feature Director: Warren Sonoda Production Manager: Kym Crepin Production Designer: Brian Verhoog Costume Designer Working the Engles, Season -
D a N a N N C O V E N A
Cabals The Board Game Card list Cabal Amount Card Name Resource Cost Power Health Ability Flavor Text 3 Private Detective 1 1 1 ºAldridge Walker, investigator of natural and supernatural crimes.º -Wall poster on the corner of Piccadilly and Haymarket, February 1931 3 Thieving Faeries 2 1 1 When Deployed: Inflict 1 Damage to target unit with Power 2 or greater. ºLook what I found!º -Edain the Faery 3 Lady of Ulster 2 1 1 [Exhaust]: Generate +1 RES ªMeghan, I told you to leave the butterflies in my study alone.º -Caitlin O'Brien 3 Faery Demagogue 2 1 1 When deployed: Target friendly unit gains +1 Power. ºRhetoric is the art of seeing the available means of persuasion.º -Aristotle 3 Gnome Hero 3 1 3 When conquers: +2 Power. ºMy name is Alberich. The clang of your church bells and the boom of your firesticks do not impress me.º 3 Magic Pigs of Cruachu 3 2 2 Adjacent enemy Relic tokens do not grant control of the tile, but they are counted for ºWasteland for seven years where they have grazed.º -Nuadha, Danann King Domination. 3 Changeling Chauffeur 3 2 2 When conquers: Gain 2[RES] ºMs. O'Brien, you are most certainly driving the pushrod-OHV straight-6 detachable head cylinder Rolls-Royce Phantom 1929...º -Elvin the Driver 3 Changeling Trick 4 Remove all tokens on target unit. That unit loses its abilities and counts as having 1 ªIn Ireland, looking at a baby with envy put him in the faeries' power transporting him Power and 1 Health. -
Elusive European Monsters Alli Starry
1 SELKIE Seal by sea and sheds its skin to walk on land in human form. This creature comes from the Irish and Scottish and Faroese folklore to keep their women cautious of men from the sea. 0 375 750 Km 9 KELPIE 2 PHOUKA N A shapeshifting water spirit in the lochs and A shapeshifting goblin sighted by the top of rivers of Scotland. The kelpie is told to warn the River Liffey. Takes drunkards on a wild children away from dangerous waters and women night ride and dumps them in random places. 6 to be wary of strangers. The Kelpie commonly Can be a nice excuse for a takes the shape of a horse with backwards hooves night at the pub. as it carries off its victims. 5 1 3 9 2 8 8 BOLOT N IK 4 A swamp monster originating from Poland. The Bolotnik pretends to be a stepping LOCH NESS 3 stone in a swamp when people pass through, then MON STER moves; causing its victims to fall into the mud where they can then be devoured. Legend has it that Loch Ness, Scotland has plesiosaur living in its depths. Affectionately named Nessie, a fisherman once 7 CET US spotted her surfacing the 7 Cetus is a sea monster from Greek Mythology. loch and Cetus is a mix between the sea serpent and a snapped a Map By: Alli Starry Monster information from Wikipedia whale. Its tale has been passed down through fuzzy picture. Pictures from deviantart.com the ages of Grecian folktales. It now resides World Mercator Projection; WKID: 54004 among the stars as a constellation. -
Horse Motifs in Folk Narrative of the Supernatural
HORSE MOTIFS IN FOLK NARRATIVE OF THE SlPERNA TURAL by Victoria Harkavy A Thesis Submitted to the Graduate Faculty of George Mason University in Partial Fulfillment of The Requirements for the Degree of Master of Arts Interdisciplinary Studies Committee: ___ ~C=:l!L~;;rtl....,19~~~'V'l rogram Director Dean, College of Humanities and Social Sciences Date: ~U_c-ly-=-a2..!-.:t ;LC>=-----...!/~'fF_ Spring Semester 2014 George Mason University Fairfax, VA Horse Motifs in Folk Narrative of the Supernatural A Thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts at George Mason University by Victoria Harkavy Bachelor of Arts University of Maryland-College Park 2006 Director: Margaret Yocom, Professor Interdisciplinary Studies Spring Semester 2014 George Mason University Fairfax, VA This work is licensed under a creative commons attribution-noderivs 3.0 unported license. ii DEDICATION This is dedicated to my wonderful and supportive parents, Lorraine Messinger and Kenneth Harkavy. iii ACKNOWLEDGEMENTS I would like to thank my committee, Drs. Yocom, Fraser, and Rashkover, for putting in the time and effort to get this thesis finalized. Thanks also to my friends and colleagues who let me run ideas by them. Special thanks to Margaret Christoph for lending her copy editing expertise. Endless gratitude goes to my family taking care of me when I was focused on writing. Thanks also go to William, Folklore Horse, for all of the inspiration, and to Gumbie, Folklore Cat, for only sometimes sitting on the keyboard. iv TABLE OF CONTENTS Page Abstract .............................................................................................................................. vi Interdisciplinary Elements of this Study ............................................................................. 1 Introduction ........................................................................................................................ -
This Thesis Has Been Submitted in Fulfilment of the Requirements for a Postgraduate Degree (E.G. Phd, Mphil, Dclinpsychol) at the University of Edinburgh
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: • This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. • A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. • This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. • The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. • When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Desire for Perpetuation: Fairy Writing and Re-creation of National Identity in the Narratives of Walter Scott, John Black, James Hogg and Andrew Lang Yuki Yoshino A Thesis Submitted to The University of Edinburgh for the Degree of Doctor of Philosophy Department of English Literature 2013 Abstract This thesis argues that ‘fairy writing’ in the nineteenth-century Scottish literature serves as a peculiar site which accommodates various, often ambiguous and subversive, responses to the processes of constructing new national identities occurring in, and outwith, post-union Scotland. It contends that a pathetic sense of loss, emptiness and absence, together with strong preoccupations with the land, and a desire to perpetuate the nation which has become state-less, commonly underpin the wide variety of fairy writings by Walter Scott, John Black, James Hogg and Andrew Lang. -
Download Extract
BLOOMSBURY CHILDREN’S BOOKS Bloomsbury Publishing Plc 50 Bedford Square, London WC1B 3DP , UK BLOOMSBURY, BLOOMSBURY CHILDREN’S BOOKS and the Diana logo are trademarks of Bloomsbury Publishing Plc First published in Great Britain in 2019 by Bloomsbury Publishing Plc Text copyright © T.C. Shelley, 2019 T.C. Shelley has asserted her right under the Copyright, Designs and Patents Act, 1988, to be identified as Author of this work All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior permission in writing from the publishers A catalogue record for this book is available from the British Library ISBN: PB: 978-1-5266-0083-7; eBook: 978-1-5266-0082-0 2 4 6 8 10 9 7 5 3 1 Typeset by RefineCatch Limited, Bungay, Suffolk To find out more about our authors and books visit www.bloomsbury.com and sign up for our newsletters iv t is a well- known fact that fairies are born from a baby’s I first laugh. What is not as well docu mented is how monsters come into being. Monsterkind is divided into three categor ies. The Great Monsters – iden ti fi able by their huge size – include trolls, ogres, goblins, dragons, abom in ables and other such monstros it ies. The subgenus, Imps, covers all stunted and smaller species – pixies, brownies, lepre chauns, sprites, boggarts, gargoyles and so on. And, lastly, of course, there are the Monster Witches: banshees, Baba Yagas, snitches, hags, wyrd sisters (hatched in triplets), and the wet witches like sirens and Jenny Greenteeth. -
Dancing the Night Away
THE DAILY ETHE STUDENTVERGREEN VOICE OF WASHINGTON STATE UNIVERSITY SINCE 1895. THURSDAY, AUGUST 22, 2019 VOL. 126 NO. 5 Dancing the night away RACHEL SUN | THE DAILY EVERGREEN Junior wildife ecology major Zoe Halliday dances at the edge of the crowd gathered around the Todd Steps as AC Slater performs Wednesday night for Cougfest. She and other students started gathering around the Todd Steps at roughly 7 p.m. to listen to the opening act, DJ Más. See more photos in our gallery at dailyevergreen.com. LGBT+ COMMUNITY Annual Palouse Pride kicks off Friday Moscow Event proceeds will fund paramedic services including HIV recognized testing, support groups By Lauren Ellenbecker nationally Evergreen reporter Carscallen volunteered Rainbows will decorate from 2002 to 2009, is Moscow’s streets in celebration of paramedic division chief Palouse Pride from Friday through Sunday. By Elayne Rodriguez Hannah Hayes, president Evergreen reporter of Inland Oasis, said the event is a place where people from the Debby Carscallen, division LGBTQ+ community and their chief of emergency medical ser- vices (EMS), will be awarded allies can gather and celebrate their Paramedic of the Year after work- uniqueness. ing with Moscow Volunteer Fire “I believe the Palouse is the best Department since 2002. place ever because of the people in Carscallen said she will receive our community,” she said. the award on Oct. 15 at the EMS Palouse Pride is packed with World Expo in New Orleans. bingo, brunch and drag queens She said she received small galore. awards from the Moscow Volunteer It will kick off with Drag Bingo Fire Department throughout the on Friday, which will guest star years like Firefighter of the Year and Shuga Cain from RuPaul’s Drag Emergency Medical Technician Race. -
What Is a Boggart Hole?1 Simon Young ISI, Florence (Italy)
What is a Boggart Hole?1 Simon Young ISI, Florence (Italy) INTRODUCTION The boggart—a word of uncertain origins (OED, ‘Boggard, -art’; Nodal and Milner 1875, 126; Wright 1898–1905, I, 326)—was once a much feared bogey in the midlands and the north of England. By the nineteenth century it had come to be associated, above all, with what might be called a ‘greater Lancashire’: the County Palatine, the south Pennines and the northern fringes of Cheshire and Derbyshire. Relative to the amount of writing that survives, most of it from the 1800s and much in Lancashire dialect, the boggart is perhaps Britain’s most understudied supernatural creature. This is true of the nineteenth century (Thornber 1837, 38, 99–104 and 329–34; Harland and Wilkinson 1867, 49–62; 1873, 10–12 and 141– 42; Hardwick 1872, 124–42; Bowker 1883, 27–36, 52–58, 63–72, 77–82, 131–39, 152–58, 174–88, 212–20 and 238–42; McKay 1888), and of recent years (Billingsley 2007, 69–74; Turner-Bishop 2010; Roberts 2013, 95–105; Young 2014b). Boggart place-names have particularly been neglected. In fact, there is, to the best of the present writer’s knowledge, no study of boggart toponyms, despite the existence of tens of boggart place-names, many still in use today.2 1 I would like to thank John Billingsley, David Boardman, Ffion Dash, Anna Garrett, Richard Green, Denise Jagger, Stephen Lees, Wendy Lord, Eileen Ormand and the anonymous reviewer for help with the writing and with the improvement of this article.