“Savage and Deformed”: Stigma As Drama in the Tempest Jeffrey R
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Ladies and Gentlemen ... the Circus I
6 REVIEW February 12, 2019 Ladies and gentlemen ... the circus is back in town No circus like Cirque du Soleil to hold its breath while watching one of the Cirque du Soleil, in its big blue and yellow goddesses as she balanced 13 palm leaf ribs. tent, opened a five-week run at Lone Star Park There is no music playing. The only sound in Grand Prairie. This time the circus presents is the heavy breathing of the artist as she the tale “Amaluna,” based on Shakespeare’s concentrates. “The Tempest.” The show opened Jan. 23 and One of the most touching acts involves a runs through March 3. scene between Miranda and her lover. Romeo “Amaluna” is the story of a magical island watched Miranda enjoy herself in choreogra- ruled by goddesses. Miranda, the daughter of phy that moved between playing in the water the Queen and shaman Prospera, is a happy bowl and displaying her strength skills in a dreamer and a romantic young girl who is difficult hand-balancing routine. The artists about to reach womanhood. also excel in their acting as the audience The queen creates a big storm that brings a watches the couple share a first kiss. group of young men to the island. The leader, “Amaluna” combines the theatrical story Prince Romeo and his men are trapped. with remarkable acrobatic acts. Watching the The show evolves into a love story between show likely gives viewers hope that dreams Romeo and Miranda. can come true. The couple confronts challenges to be The spectacle is one of more than 23 shows together, including dealing with the jealousy of by Cirque du Soleil. -
Sibelius the Tempest: Incidental Music/Finlandia/Karelia Suite - Intermezzo & Alla Marcia/Scenes Historiques/Festivo Mp3, Flac, Wma
Sibelius The Tempest: Incidental Music/Finlandia/Karelia Suite - Intermezzo & Alla Marcia/Scenes Historiques/Festivo mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: The Tempest: Incidental Music/Finlandia/Karelia Suite - Intermezzo & Alla Marcia/Scenes Historiques/Festivo Country: Europe Released: 1990 Style: Romantic MP3 version RAR size: 1802 mb FLAC version RAR size: 1394 mb WMA version RAR size: 1218 mb Rating: 4.8 Votes: 236 Other Formats: MIDI AIFF DMF RA MP3 DTS MP2 Tracklist Hide Credits The Tempest: Incidental Music Op. 109b & C Orchestra – The Royal Philharmonic Orchestra 1 Caliban's Song 1:21 2 The Oak Tree 2:45 3 Humoresque 1:07 4 Canon 1:32 5 Scene 1:29 6 Berceuse 2:30 7 Chorus Of The Winds 3:24 8 Intermezzo 2:21 9 Dance of the Nymphs 2:11 10 Prospero 1:51 11 Second Song 1:00 12 Miranda 2:23 13 The Naiads 1:11 14 The Tempest 4:06 Festivo, Op. 25, No. 3 (from Scenes Historiques, 1) 15 7:45 Orchestra – The Royal Philharmonic Orchestra Scenes Historiques, 2 Engineer – Arthur ClarkOrchestra – The Royal Philharmonic Orchestra 16 The Chase, Op. 66 No. 1 6:34 17 Love Song, Op. 66 No. 2 4:56 18 At The Drawbridge, Op. No. 3 6:48 Karelia Suite Orchestra – BBC Symphony Orchestra 19 Intermezzo, Op. 11 No. 1 3:00 20 Alla Marcia, Op. 11 No. 3 4:32 Finlandia-Symphonic Poem Op. 26 21 Engineer – Arthur Clark*Orchestra – The London 8:54 Philharmonic OrchestraProducer – Walter Legge Credits Composed By – Jean Sibelius Conductor – Sir Thomas Beecham Cover – John Marsh Design Associates Remastered By [Digitally Remastered By] – John Holland Notes Tracks 1-14 - The copyright in these sound recordings is owned by CBS Records Inc, p)1956. -
Caliban's Use of Language in Shakespeare's the Tempest
fi4 Notions Vol.6 No3 2015 (P) ISSN t 097G5247, (epSSN: 239*7239 Caliban's Use of Language in Shakespearers The Tbmpest You taught me language, and my profit on,t Is I know how to curse. The red plague rid you For learning me your language! (Act I, Scene II, The Tempest) ..The Richard Eyre, a distinguished English director said, life of the plays is in the language, not alongside ig or underneath i1. f'sslings and thoughts are released at the moment of speech. An Elizabethan audience would have responded to the pulse, the rhythms, the shapes, sounds, and above all meanings, within the consistent ten- syllable, five- stress lines of blank verse. They were an audience who listened,,. (Shakespeareb Language 4) At the outset, the audience has to make a distinction between some modern connotations ofthe word 'language, and those current in Shakespeare's day, when language was neither neutal nor purely verbal. A neutral view of language is typified by such statements as Saussure,s remark: From the excursions made into regions bordering upon linguistics, there emerges a negative lesson, but one which...supports the fundamental thesis of this course: the only true object of study in linguistics is the language, considered in itself and for its own sake. (Course inGeneral Linguistics) Such an empirical approachwas alientothe sixteenth and earlier seventeenth centuries, where all concems of life were moralizod, including language, in so far as most writers looked for ways of integrating their subject with the current dominant Christian concepts. Language and knowledge has been the key to power on the island in the play. -
The Tempest: Synopsis by Jo Miller, Grand Valley Shakespeare Festival Dramaturg
The Tempest: Synopsis By Jo Miller, Grand Valley Shakespeare Festival Dramaturg Long ago and far away, Prospero, the Duke of Milan, pursued the contemplative life of study while turning the administration of his Dukedom over to his brother [in our play a sister, Antonia], who, greedy for power, made a deal with the King of Naples to pay tribute to the King in exchange for help in usurping Prospero’s title. Together they banished Prospero from Milan, thrusting him out to sea in a rotten, leaky boat with his infant daughter, Miranda. Miraculously, the father and daughter survived and were marooned on an island where Sycorax, an evil witch who died after giving birth to Caliban, had also been exiled. Caliban is thus the only native inhabitant of the isle besides the spirit, Ariel, and his fellow airy beings. For twelve years now, Prospero and Miranda have lived in exile on this island, with Prospero as its de facto king, ruling over Caliban and all the spirits as his slaves, while he has nurtured Miranda and cultivated his powerful magic. At the moment play begins, that same King of Naples and his son Prince Ferdinand, along with the King’s brother [here a sister, Sebastiana], Prospero’s sister, Antonia, and the whole royal court, are sailing home from having given the Princess Claribel in marriage to the King of Tunis. Prospero conjures up a mighty tempest, which wrecks the King’s boat on the island, separating the mariners from the royal party, and isolating Ferdinand so that the King believes him drowned. -
Module A: Tempest and Hag-Seed Essay
MODULE A: TEMPEST AND HAG-SEED ESSAY • Textual conversations allow audiences to understand and appreciate changes in attitudes and values over time, by considering the resonances and dissonances that exist between texts. • This is evident when comparing William Shakespeare’s tragicomedy, The Tempest, with Margaret Atwood’s postmodernist appropriation, Hag- Seed. • Both composers communicate the different attitudes and perspectives towards similar concepts of humanity, exploring values of x in their respective context. • Ultimately, this enhances our understanding of these ideas, while also demonstrating how perspectives on social and historical contexts can change over time. • The Tempest explores themes of power and literal imprisonment through its setting and characters. • This is evident in Prospero’s enslavement of Caliban, a native of the island, who is referred to as a “poisonous slave, got by the devil himself”. • Prospero’s use of derogatory language and animalistic imagery, symbolises the negative attitudes of colonisers towards natives in the 1600s. • Caliban’s submissiveness, which is due to a paralysing fear of Prospero’s magic, “I must obey. His art is of such power”, further symbolises this power imbalance between colonisers and natives. • Power and imprisonment are further explored through Prospero. Prospero himself, experiences the retribution of power after being exiled by his “unlawful brother”, Antonio. • Prospero presents Antonio as a brother “so perfidious!”, symbolising his anger and desire for vengeance after 12 years of being imprisoned on the island. • The opening stage directions ‘a tempestuous noise of thunder and lightning’ symbolically introduces the disruption to natural order of the Jacobean chain of being through Prospero’s sovereign overthrow, stimulating the desire for revenge. -
Self-Organizing Systems in Planetary Physics: Harmonic Resonances Of
Self-Organizing Systems in Planetary Physics : Harmonic Resonances of Planet and Moon Orbits Markus J. Aschwanden1 1) Lockheed Martin, Solar and Astrophysics Laboratory, Org. A021S, Bldg. 252, 3251 Hanover St., Palo Alto, CA 94304, USA; e-mail: [email protected] ABSTRACT The geometric arrangement of planet and moon orbits into a regularly spaced pattern of distances is the result of a self-organizing system. The positive feedback mechanism that operates a self-organizing system is accomplished by harmonic orbit resonances, leading to long-term stable planet and moon orbits in solar or stellar systems. The distance pattern of planets was originally described by the empirical Titius-Bode law, and by a generalized version with a constant geometric progression factor (corresponding to logarithmic spacing). We find that the orbital periods Ti and planet distances Ri from the Sun are not consistent with logarithmic spacing, 2/3 2/3 but rather follow the quantized scaling (Ri+1/Ri) = (Ti+1/Ti) = (Hi+1/Hi) , where the harmonic ratios are given by five dominant resonances, namely (Hi+1 : Hi)=(3:2), (5 : 3), (2 : 1), (5 : 2), (3 : 1). We find that the orbital period ratios tend to follow the quantized harmonic ratios in increasing order. We apply this harmonic orbit resonance model to the planets and moons in our solar system, and to the exo-planets of 55 Cnc and HD 10180 planetary systems. The model allows us a prediction of missing planets in each planetary system, based on the quasi- regular self-organizing pattern of harmonic orbit resonance zones. We predict 7 (and 4) missing exo-planets around the star 55 Cnc (and HD 10180). -
10 Ecce Parentes
“Ch 10” YON-II/ Ramos 1 10 ECCE PARENTES Walking on water was an angel. He was Uriel, the Archangel of Wisdom, one of Earth’s overseers and a liaison between Heaven and Earth. He was tall, imposing, and two ranks above Setebos in the Watcher chain of command. Thanks to having been Miranda’s protégé once upon a time, Cora knew who Uriel was, and none of those things she gave a damn. From the shoreline of the inner cave, she stood her ground. “Did you come here,” she said, “just to say that?” “Cora --” Setebos began, anxiously. “No,” Uriel said, “although I was surprised by your – er – present condition, young woman. Perhaps I spoke out of turn.” “PERHAPS?” “Cora, please --” “Setebos,” Uriel said. “Sir?” The archangel shook his head. “I think we’re beyond formalities now, Setebos. I came here to bring a message to you, a fallen Watcher who cared enough about good and evil to put yourself in solitary. However, I see that you still have that Celestial Engineer temptation to ‘fix’ humans and thus create unnecessary complications for yourself --” Uriel nodded towards Cora, “-- and others.” Cora clenched her jaw but remained silent. “I failed,” Setebos said. “That’s why you’re here, right? Despite my precautions, I meddled with the affairs of humans again…” He trailed off. “You came to tell me that the Reboot will happen.” “Yes,” Uriel confirmed. “However, the Reboot isn’t because of you. As this young woman can attest, Earth has become too corrupted to remain as is. It needs a clean slate to restart anew.” “But what about her and --” “I need to walk,” Cora announced, angry that they were talking about her in the third person, as if she weren’t there. -
Astronomy Astrophysics
A&A 472, 311–319 (2007) Astronomy DOI: 10.1051/0004-6361:20066927 & c ESO 2007 Astrophysics Light curves and colours of the faint Uranian irregular satellites Sycorax, Prospero, Stephano, Setebos, and Trinculo, M. Maris1, G. Carraro2,3, and M. G. Parisi4,5,6 1 INAF – Osservatorio Astronomico di Trieste, via G.B. Tiepolo 11, 34131 Trieste, Italy e-mail: [email protected] 2 Dipartimento di Astronomia, Università di Padova, Vicolo Osservatorio 2, 35122 Padova, Italy e-mail: [email protected] 3 Andes Prize Fellow, Universidad de Chile and Yale University 4 Departamento de Astronomía, Universidad de Chile, Casilla 36-D, Santiago, Chile e-mail: [email protected] 5 Member of the Centro de Astrofisica, Fondo de Investigacion Avanzado en Areas Prioritarias (FONDAP), Chile 6 Member of the Consejo Nacional de Investigaciones Cientificas y Tecnicas (CONICET), Argentina Received 13 December 2006 / Accepted 17 April 2007 ABSTRACT Context. After the work of Gladman et al. (1998, Nature, 392, 897), it is now assessed that many irregular satellites are orbiting around Uranus. Aims. Despite many studies performed in past years, very little is know about the light-curves of these objects and inconsistencies are present between colours derived by different authors. This situation motivated our effort to improve both the knowledge of colours and light curves. Methods. We present and discuss, the time series observations of Sycorax, Prospero, Stephano, Setebos, and Trinculo, five faint, irregular satellites of Uranus, which were carried out at VLT, ESO Paranal (Chile) on the nights between 29 and 30 July, 2005 and 25 and 30 November, 2005. -
And Margaret Atwood's Novel Hag-Seed
The textual conversation between William Shakespeare’s play The Tempest (1611) and Margaret Atwood’s novel Hag-Seed (2016) positions readers to realise how individuals must move on from the past in order to achieve fulfilment. Readers recognise how introspection and accepting the past is necessary in order to reconcile with loss and how to achieve freedom, individuals must overcome their restrictive, seemingly predestined capacities. Atwood’s appropriation of The Tempest allows contemporary audiences to gain true insight into the timeless values of self-reflection, reconciliation and challenging one’s destiny. The textual conversation between The Tempest and Hag-Seed facilitates readers’ appreciation of how introspection and accepting the past is necessary in order to reconcile with loss. In The Tempest, Shakespeare advocates how Prospero’s introspection as he moves on from his preoccupation with revenge, prompts compassion and forgiveness. Shakespeare responds to the rise of Renaissance Humanism during the Jacobean Era, celebrating human control over one’s fate and display of virtues such as empathy and self-enquiry. Shakespeare characterises exiled Duke of Milan Prospero as unwilling to acknowledge how his usurpation by his brother Antonio resulted from preoccupations with magic as he accuses Antonio of being the metaphorical "ivy which had hid my princely trunk” to emphasise his loss and victimise himself. Shakespeare establishes Prospero’s anger towards his past betrayal in the supernatural stage directions [Enter several strange shapes, bringing in a banquet…] and [...the banquet vanishes], revealing how he uses magic to humiliate and punish the shipwrecked Royal Court. However, Shakespeare exposes how Prospero’s belief that revenge is justified is challenged by spirit Ariel in “if you now beheld them, your affections would become tender…. -
Valse Triste, Op. 44, No. 1
Much of the Sibelius Violin Concerto’s beauty comes from its eccentricity — while it has elements of a traditional Romantic concerto, Sibelius constantly asks the musicians to play in quirky, counterintuitive ways, and often pits the soloist and orchestra against each other. BOB ANEMONE, NCS VIOLIN Valse triste, Op. 44, No. 1 JEAN SIBELIUS BORN December 8, 1865, in Hämeenlinna, Finland; died September 20, 1957, in Järvenpää, Finland PREMIERE Composed 1903; first performance December 2, 1903, in Helsinki, conducted by the composer OVERVIEW Though Sibelius is universally recognized as the Finnish master of the symphony, tone poem, and concerto, he also produced a large amount of music in the more intimate forms, including the scores for 11 plays — the music to accompany a 1926 production of Shakespeare’s The Tempest was his last orchestral work. Early in 1903, Sibelius composed the music to underscore six scenes of a play by his brother-in-law, Arvid Järnefelt, titled Kuolema (“Death”). Among the music was a piece accompanying the scene in which Paavali, the central character, is seen at the bedside of his dying mother. She tells him that she has dreamed of attending a ball. Paavali falls asleep, and Death enters to claim his victim. The mother mistakes Death for her deceased husband and dances away with him. Paavali awakes to find her dead. Sibelius gave little importance to this slight work, telling a biographer that “with all retouching [it] was finished in a week.” Two years later he arranged the music for solo piano and for chamber orchestra as Valse triste (“Sad Waltz”), and sold it outright to his publisher, Fazer & Westerlund, for a tiny fee. -
“From Strange to Stranger”: the Problem of Romance on the Shakespearean Stage
“From strange to stranger”: The Problem of Romance on the Shakespearean Stage by Aileen Young Liu A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English and the Designated Emphasis in Renaissance and Early Modern Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Jeffrey Knapp, Chair Professor Oliver Arnold Professor David Landreth Professor Timothy Hampton Summer 2018 “From strange to stranger”: The Problem of Romance on the Shakespearean Stage © 2018 by Aileen Young Liu 1 Abstract “From strange to stranger”: The Problem of Romance on the Shakespearean Stage by Aileen Young Liu Doctor of Philosophy in English Designated Emphasis in Renaissance and Early Modern Studies University of California, Berkeley Professor Jeffrey Knapp, Chair Long scorned for their strange inconsistencies and implausibilities, Shakespeare’s romance plays have enjoyed a robust critical reconsideration in the twentieth and twenty-first centuries. But in the course of reclaiming Pericles, The Winter’s Tale, Cymbeline, and The Tempest as significant works of art, this revisionary critical tradition has effaced the very qualities that make these plays so important to our understanding of Shakespeare’s career and to the development of English Renaissance drama: their belatedness and their overt strangeness. While Shakespeare’s earlier plays take pains to integrate and subsume their narrative romance sources into dramatic form, his late romance plays take exactly the opposite approach: they foreground, even exacerbate, the tension between romance and drama. Verisimilitude is a challenge endemic to theater as an embodied medium, but Shakespeare’s romance plays brazenly alert their audiences to the incredible. -
Current Understandings and Future Perspectives for Research of Icy Moons
Current understandings and future perspectives for research of icy moons Jun Kimura Osaka University Is there a life elsewhere in the universe? Pursuing this question is a fundamental part for human beings, and a clue to the answer of this question may be found on the icy moons around giant planets. After magnificent achievements of the Cassini, Galileo and Voyager spacecraft missions, the existence of a thick liquid water layer underneath solid ice crusts with various icy tectonic features has been inferred for several icy moons. Such liquid layers are now understood as subsurface oceans. To date, the evidence for oceans is not fully conclusive and mainly based on electro-magnetic induction signals, surface morphology and thermal modeling. In addition, hydrated salts on surface and water pluming including non-water volatiles and organics support to exist the subsurface ocean and the environment to emerge and sustain life there. In the following, I review our current knowledge for the icy moons in terms of interior, surface tectonics, chemical composition and habitability, and also present possible science research targets and exploration missions in future. On each giant planet system, only one or two explorations have been performed to date. No spacecraft explorations orbiting icy moons have not yet been achieved and there are still many big issues to be solved for direct investigation of extra-terrestrial life. ⽔星 惑星・準惑星・ (直径150km以上の) 衛星 ⾦星 地球系 ⽕星系 ⽊星系 ⼟星系 天王星系 海王星系 カイパーベルト Pluto Amalthea Janus 衛星研究の現状と将来展望 Eris Haumea Makemake Larissa