669031 Bk Salerni
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Sinclair Lewis Society Newsletter VOLUME TWENTY, NUMBER ONE FALL 2011
The SINCLAIR LEWIS SOCIETY NEWSLETTER VOLUME TWENTY, NUMBER ONE FALL 2011 LANCELOT TODD: A CASE FOR FICTIONAL INDEPENDENCE Samuel J. Rogal Illinois Valley Community College In a neat package of a single paragraph containing a summarization of Lewis’s Lancelot Todd, Mark Schorer de- termined that Lewis’s pre-1920s version of the present-day public relations agent run wild represented a relatively simple “ANOTHER PERFECT DAY”: WEATHER, instrument of his creator’s satire and farce. Schorer labeled MOOD, AND LANDSCAPE IN SINCLAIR Todd “a suave immoralist” and “swindler” who threads his LEWIS’S MINNESOTA DIARY way through a series of short stories with plots that hold no “real interest” and whose principal fictional function focuses Frederick Betz upon Lewis’s preparations for the larger worlds of George Southern Illinois University–Carbondale Babbitt and Elmer Gantry (Schorer 239). Although few critical commentators of twenty-first-century American fiction seem- Sinclair Lewis’s Minnesota Diary, 1942–46, superbly ingly have possessed the stamina or willingness to challenge introduced and edited by George Killough, “offers an inside Schorer’s generalized characterization of Todd, there lies suf- view of a very public person,” a “strangely quiet and factual” ficient evidence in the stories themselves to allow for at least diarist, who “keeps meticulous notes on weather, writes ap- a defense of Todd as a character who might somehow stand preciative descriptions of scenery, mentions hundreds of people independent of the likes of Babbitt and Gantry. he is meeting, and chronicles exploratory trips around Min- Lancelot Todd appears in seven Lewis stories published nesota” (15). -
SINCLAIR LEWIS' Fiction
MR, FLANAGAN, who is professoT of American literature in. the University of Illinois, here brings to a total of fifteen his mafor contributions to this magazine. The article's appearance appropriately coincides with the seventy-fifth anniversary of Lewis' birth and the fortieth of the publication of Main Street. The MINNESOTA Backgrounds of SINCLAIR LEWIS' Fiction JOHN T. FLANAGAN SINCLAIR. LEWIS 'was once questioned his picture of Gopher Prairie and Minne about the autobiographical elements in sota and the entire Middle W^est became Main Street by a friend 'whose apartment both durable and to a large extent accurate. he 'was temporarily sharing. The novelist A satirist is of course prone to exaggeration. remarked to Charles Breasted that Dr. 'Will Over-emphasis and distortion are his stock Kennicott, the appealing country physician in trade. But despite this tilting of the in his first best seller, 'was a portrait of his balance, his understanding of places and father; and he admitted that Carol, the doc events and people must be reliable, other tor's 'wife, 'was in many respects indistin wise he risks losing touch with reality com guishable from himself. Both "Red" Lewis pletely, Lewis was born in Minnesota, he and Carol Kennicott were always groping spent the first seventeen years of his life in for something beyond attainment, always the state, and he returned on frequent visits, dissatisfied, always restless, and although which sometimes involved extensive stays both were frequently scornful of their im in Minneapolis, St, Paul, or Duluth, A num mediate surroundings they nevertheless ber of his early short stories and six of his lacked any clear vision of what could or twenty-two novels are localized wholly or should be done. -
Bruxy Cavey and the Meeting House Megachurch: a Dramaturgical Model of Charismatic Leadership Performing “Evangelicalism for People Not Into Evangelicalism”
Bruxy Cavey and The Meeting House Megachurch: A Dramaturgical Model of Charismatic Leadership Performing “Evangelicalism for People Not Into Evangelicalism” by Peter Schuurman A thesis presented to the University of Waterloo in fulfilment of the thesis requirement for the degree of Doctor of Philosophy in Religious Studies Waterloo, Ontario, Canada, 2016 © Peter Schuurman 2016 ! ! ! ! ! ! ! ! ! ! ! Author’s Declaration I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I understand that my thesis may be made electronically available to the public. ! ii ! Abstract Megachurch pastors—as local and international celebrities—have been a growing phenomenon since the 1960s, when megachurches began to proliferate across North America. Why are these leaders and their large congregations so popular in an age of increasing “religious nones”? Commentators in both popular and academic literature often resort to characterizing the leadership with stereotypes of manipulative opportunists along the lines of Sinclair Lewis’ Elmer Gantry (1927) or narrow characterizations of savvy entrepreneurs who thrive in a competitive religious economy. Similarly, writers assume megachurch attendees are a passive audience, or even dupes. This dissertation challenges the Elmer Gantry stereotype and the religious economic perspectives by examining one particular megachurch pastor named Bruxy Cavey in the context of his “irreligious” megachurch community called -
Programpirates20.Pdf
THE PIRATES OF PENZANCE A comic opera in two acts with music by Arthur Sullivan and libretto by W. S. Gilbert Premiere at the Fifth Avenue Theatre in New York City on December 31, 1879 April 9 & 11, 2015 Andrew Jackson Hall, Tennessee Performing Arts Center Conducted by William Boggs • Directed by Dean Anthony** CAST Pirate King Craig Irvin Major General Stanley Curt Olds* Ruth Maria Zifchak* The Bovender Principal Artist Police Sergeant Aaron Sorensen* Mabel Hanna Brammer*† Frederic Christopher Nelson*† Samuel Alex Soare*† Edith Christine Amon*† Isabel Emily Apuzzo Hopkins Kate Brooke Hazen CREATIVE TEAM Lighting Designer Joe Saint Assistant Lighting Designer Andrea Boccanfuso Costume Coordinator Pam Lisenby Wigs and Make-up Designer Sondra Nottingham Props Master Robert Gilmer Accompanist/Chorusmaster Amy Tate Williams Production Stage Manager Kat Slagell PRODUCTION CREDITS Set design by Chris Clapp • Scenery provided by Opera Carolina Costumes provided by A.T. Jones & Sons, Inc. Technical Director James Lile Assistant Stage Manager Valerie Clatworthy Wigs and Make-up Crew Steven Young, Brecque Jameson, Kristin Anderson Kathryn Conde, Amanda Romese Costume Crew Annie Freeman, Jayme Locke, Don Skelton Props Crew Dan Weikal Supernumerary Coordinator Michael Rutter Supertitles Creator John Hoomes * Nashville Opera Debut ** Nashville Opera Directing Debut † 2015 Mary Ragland Young Artist THE STORY ACT I the bunch, Mabel. She graciously offers to reclaim this “Poor Wandering One” from his life of villainy. The young apprentice Frederic has just come to All seems close to ending happily, but unfortunately the end of his indentured period with the notorious Frederic has forgotten that there are pirates about! Pirates of Penzance. -
Section 2 Stage Works Operas Ballets Teil 2 Bühnenwerke
SECTION 2 STAGE WORKS OPERAS BALLETS TEIL 2 BÜHNENWERKE BALLETTE 267 268 Bergh d’Albert, Eugen (1864–1932) Amram, David (b. 1930) Mister Wu The Final Ingredient Oper in drei Akten. Text von M. Karlev nach dem gleichnamigen Drama Opera in One Act, adapted from the play by Reginald Rose. Libretto by von Harry M. Vernon und Harald Owen. (Deutsch) Arnold Weinstein. (English) Opera in Three Acts. Text by M. Karlev based on the play of the same 12 Solo Voices—SATB Chorus—2.2.2.2—4.2.3.0—Timp—2Perc—Str / name by Harry M. Vernon and Harald Owen. (German) 57' Voices—3.3(III=Ca).2(II=ClEb).B-cl(Cl).3—4.3.3.1—Timp—Perc— C F Peters Corporation Hp/Cel—Str—Off-stage: 1.0.Ca.0.1—0.0.0.0—Perc(Tamb)—2Gtr—Vc / 150' Twelfth Night Heinrichshofen Opera. Text adapted from Shakespeare’s play by Joseph Papp. (English) _________________________________________________________ 13 Solo Voices—SATB Chorus—1.1.1.1—2.1.1.0—Timp—2Perc—Str C F Peters Corporation [Vocal Score/Klavierauszug EP 6691] Alberga, Eleanor (b. 1949) _________________________________________________________ Roald Dahl’s Snow White and the Seven Dwarfs Text by Roald Dahl (English) Becker, John (1886–1961) Narrator(s)—2(II=Picc).2.2(II=B-cl).1.Cbsn—4.2.2.B-tbn.1—5Perc— A Marriage with Space (Stagework No. 3) Hp—Pf—Str / 37' A Drama in colour, light and sound for solo and mass dramatisation, Peters Edition/Hinrichsen [Score/Partitur EP 7566] solo and dance group and orchestra. -
Département De Langue Et De Littérature Allemandes
1 DESCRIPTION DES COURS (24 février 2016) DÉPARTEMENT DE LANGUE ET DE LITTÉRATURE ANGLAISES ANNÉE ACADÉMIQUE 2015-2016 (sous réserve de modification) Comme il y a parfois des changements d’horaire ou de salles en cours d’année, vous êtes invité-e-s à contrôler régulièrement l’horaire et la salle pour les enseignements qui vous intéressent, ainsi que d’éventuelles annulations, en consultant la version officielle du programme des cours 2015-2016 sur le site de la Faculté (dès fin août 2015) : http://www.unige.ch/lettres > Enseignements > Programme des cours > Programme des cours en ligne 2015-2016 A = semestre d’automne CR = cours TP = travaux pratiques P = semestre de printemps CS = cours-séminaire CP = complément d’enseignement AN = toute l’année SE = séminaire RE = séminaire de recherche *********** Baccalauréat universitaire (Bachelor of Arts, BA) BA1 : Littérature anglaise 3E040 1-2h/Année de CR, Introduction aux études littéraires 32E0108 CR Introduction to the Study of Literature L. Erne, po A Ma 10-12 B 111 32E0108 CR Introduction to the Study of Literature E. Kukorelly, ce P Ma 10-12 B 111 This course is designed to introduce students to the terminology and skills required for the study of literature at the university level. It is organised into four half-semesters, each of which is devoted to the study of a genre: poetry and drama (taught by Professor Erne in the Autumn semester) and fiction and nonfiction prose (taught by Professor Madsen in the Spring semester). Among the texts we will study are Shakespeare's Hamlet, a selection of poetry from the sixteenth century to the present, and Hawthorne's The Scarlet Letter. -
Portrayal of Society in the Novels of Sinclair Lewi
International Journal of Humanities and Social Science Research International Journal of Humanities and Social Science Research ISSN: 2455-2070 Impact Factor: RJIF 5.22 www.socialsciencejournal.in Volume 4; Issue 6; November 2018; Page No. 58-61 Portrayal of society in the novels of Sinclair Lewi Neha Garg Research Scholar, Sighania University, Rajasthan, India Abstract Lewis is a critic of his times. He depicts life and society as he sees them. Lewis does not believe in false idealisation of things. Instead, he expresses the sickness and misery of the American Society Lewis has been often called the “Dickens of America”. The peculiar mixture of radicalism and orthodoxy in dickens’ political and social views was much like Lewis’s. Not unlike Dickens, Lewis was always highly critical of American prolities. Keywords: Sinclair Lewi, radicalism and orthodoxy, political and social Introduction condition in American life. Influenced by William James, he Most modern writers portray the tragic experience of the is essentially a pragmatist. According to James, a pragmatist American machine-age. They are disillusioned and sad. The ‘turns away from abstraction and insufficiency, from verbal modern generation, they maintain, is a lost generation devoid solution, from fixed principles, closed systems, and pretended of human values. It is uprooted and betrayed. In such horrible absolutes and origins. He turns towards facts, towards action conditions, the camera eye is a great necessity to make the and towards power [5]. The secret of Lewis’ art is his living the people realize their bad ways of life and save themselves from life of his characters. His emphasis is on creating living dehumanization. -
3026 1 Something RD So Wanted to Do That, When He Couldn't Find Funding/Studio, He Personally Funded It & Was Its Producer A
3026 THE GIFT OF EARS is more important than ELLIOTT TN1NKSNEETS THE GIFT OF TONGUES 300 L. Eliz . Dr. , Cralgville MA 02636 A meditation on Robt.Duvall's (1997) film "The Apostle" Phone /rax 608.775.0008 11.11.00 in light of our church's film-group discussion of it last evening Noncommercial reproduction permitted 1 Something RD so wanted to do that, when he couldn't find funding/studio, he personally funded it & was its producer as well as its director. And to get the authentic feel of Pentecostalism, he spent months experiencing P. churches. The protagonist says, when asking an ailing black preacher for his vacant church-building (so a church could be called into being), "I have a holiness background." (In America, the Holiness movment preceded by three generations the Pentecostal movement [1913-]. I am a graduate of a college of the former movement, & at NYTheol.Seminary had many stu- dents who were pastors in the latter movement. The film did not seem at all foreign to me, though it did to many in the film-group last evening.) 2 The STORY: A Holiness-Pentecostal-Evangelical preacher (since age 12) is estranged from his wife, gets fired from his church, strikes (with a child's baseball bat) & accidentally kills his wife's lover, runs, successfully revives an interracial church (supporting himself as a cook & an auto-mechanic), &--after a worship in which, at the "altar call," his (apparent) successor-to-be & inheritor of his Bible is convert- ed--is apprehended "for first-degree murder." In Sinclair Lewis' ELMER GANTRY, we know from the start that the preacher is a fraud. -
Kirstin Chávez Mezzo-Soprano
Kirstin Chávez Mezzo-soprano Kirstin Chávez is considered one of the most riveting and significant performing mezzo-sopranos today. The combination of her magnificent voice, expansive range, dramatic intensity of her acting, and natural physical beauty make her an arresting and unique presence on the operatic stage. Ms. Chávez captures attention and acclaim in her signature roles and is recognized as one of the definitive interpreters of Carmen of our generation. She performs Bizet’s iconic heroine with great success throughout the world with leading opera companies and symphonies including New National Theatre Foundation in Tokyo, Staatsoper Hannover, Opera Australia, China National Center for the Performing Arts, Central City Opera, Arizona Opera, Columbus Symphony, Opera Queensland, Welsh National Opera, Orlando Philharmonic, and Oper Graz, when Opera News reported that her Carmen was “the Carmen of a lifetime. With her dark, generous mezzo, earthy eroticism, volcanic spontaneity and smoldering charisma, Chávez has it all, including a superb command of French and a sense of humor." This season, Ms. Chávez will reprise her signature role in Carmen with Opera San Antonio, Meg Page in Falstaff with San Diego Opera, and sing a mezzo-soprano solo in Beethoven's Symphony No. 9 with Asheville Symphony and Verdi's Requiem with New Haven Symphony. This season will also see Ms. Chávez’s return to The Metropolitan Opera in their production of Der Rosenkavalier. Ms. Chávez is collecting accolades for her fiery portrayals through Europe and Australia. Recent engagements have brought her to Australia as her signature role in Carmen at Opera Queensland, which she also performed in concert with Venture Opera and University of Southern Mississippi, and to Italy for The Rape of Lucretia at Maggio Musicale Fiorentino. -
The Marriage of Figaro Study Guide
The Marriage of Figaro Study Guide TABLE OF CONTENTS New to Opera? 3 Elements Of Opera 4 Operatic Voice Types 5 Opera Vocabulary 6 About the Composer 7 The Marriage of Figaro: Synopsis 8 Elmer Gantry. Photo by Kathy Wittman NEW TO OPERA? We firmly believe that newcomers have a great advantage over many opera fanatics worldwide. The composers of the great operas knew what they were doing – they created potent musical dramas aimed straight for the heart. More than many other art forms, opera is meant to appeal directly to the senses. All you need are eyes, ears, and a soul to fully appreciate opera. Let us help you activate your senses. OPERA BASICS An opera is simply a play in which people sing. In most operas, all the words are sung, and none are spoken. There are other types of operas; however, in which there is as much speaking as singing. The theater has been around for hundreds of years. People Opera powerfully were being entertained by combines the plays long before television drama of theater and radio were even invented. Music was added with music… to enhance the feelings Don Giovanni. Photo by Kathy Wittman portrayed on the stage. Singing is a very unique form of music because the instrument (like our feelings) comes from inside. Our voice is a part of us which expresses how we feel, whether we sing, talk, shout, laugh, cry, moan, growl, whisper, gasp, hiss, etc. w12 It is the actor’s job to express such feelings, and singing is a perfect way of doing just that. -
Sinclair Lewis
SATIRE OF CHARACTERIZATION IN THE FICTION OF SINCLAIR LEWIS by SUE SIMPSON PARK, B.A. , M.A. A DISSERTATION IN ENGLISH Submitted to the Graduate Faculty of Texas Technological College in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Chairman of the Committee &l^ 1? }n^ci./A^.Q^ Accepted <^ Dean of the Gradu^e SiChool May, 196( (\^ '.-O'p go I 9U I am deeply indebted to Professor Everett A. Gillis for his direction of this dissertation and to the other members of my committee, Professors J. T. McCullen, Jr., and William E. Oden, for their helpful criticism. I would like to express my gratitude, too, to my husband and my daughter, without whose help and encouragement this work would never have been completed. LL CONTENTS I. SINCLAIR LEWIS AND DRAMATIC SATIRE 1 II. THE WORLD OF THE BUSINESS COMMUNITY 33 III. THE PHYSICIAN AND HIS TASK 68 IV. THE ARTIST IN THE AMERICAN MILIEU 99 V. THE DOMESTIC SCENE: WIVES AND MARRIAGE ... 117 VI. THE AMERICAN PRIEST 152 NOTES ^76 BIBLIOGRAPHY 131 ILL CHAPTER I SINCLAIR LEWIS AND DRAMATIC SATIRE In 1930 Sinclair Lewis was probably the most famous American novelist of the time; and that fame without doubt rested, as much as on anything else, on the devastating satire of the American scene contained in his fictional portrayal of the inhabitants of the Gopher Prairies and the Zeniths of the United States. As a satirist, Lewis perhaps ranks with the best--somewhere not far below the great masters of satire, such as Swift and Voltaire. -
PDF of R. Goldstein Article
The View from Summit Avenue: Inspiration Point for Sinclair Lewis’s Main Street ralph l. goldstein n a fine June morning in 1903, eighteen- stay, he cranked out more stories to pay the Oyear-old Harry Sinclair Lewis emerged bills while imagining scenes including the view from the Clarendon Hotel at Sixth and Waba- from the cliff that ultimately found a place in sha Streets and walked to Central High School Main Street, the novel published in 1920 that to take the last of the examinations that might would succeed beyond Lewis’s most optimistic qualify him to enter Yale University. He’d trav- expectations in gaining the nation’s a/ention. eled to Saint Paul and taken the exams the pre- That groundbreaking work, along with Babbi!, vious year, passing only eleven of thirteen. In Arrowsmith, Elmer Gantry, and Dodsworth, 1903, he passed them all. In the late a.ernoons brought him the renown that led in 1930 to following the testing that was conducted over being the first American to win the Nobel Prize three days, the 6'1" redheaded boy from Sauk for Literature and continues to secure his place Centre strolled through the capital city in his in the world literary canon. Footloose through- ill-fi/ing clothes. He noted in his diary that he out much of his adult life, Lewis nevertheless “went up to look at the magnificent white mar- regarded his home state as a lodestar, providing ble Capitol, which is being built,”¹ marveled at inspiration for his writing and a comforting the residences on Summit Avenue and the grand place to return.