Bowl Round 6
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The French Revolution and the Origins of Human Rights
2/11/2016 The French Revolution and the Origins of Human Rights So many revolutions, so little time … • The Greek War of Independence, 1821‐1829 • Irish Rebellion of 1641 • Decembrist Revolt (Russia, 1825) • First Russian Revolution, 1905 • English Revolution, 1642‐1660 • Albanian Revolution (Ottoman, 1910) • The Naples Revolt, 1647 • July Revolution (France, 1830) • Easter Rising In Dublin, 1916 • The Khmelnytsky Uprising, 1648 • Belgian Revolution, 1830 • Irish War of Independence (1916‐1923) • February Revolution (Russia, 1917) • The Fronde (France, 1648‐1653) • November Uprising (Poland, 1830‐1831) • October Revolution (a.k.a. Bolshevik) , • Moscow Uprising of Streltsy Regiments, 1688 • The Bosnian Uprising (Ottoman, 1831‐1832) 1917 • The Glorious Revolution (England, 1688) • Ukrainian Revolution, 1917‐1921 • June Rebellion (France, 1832) • Finnish Civil War, 1918 • The Streltsy Uprising (Russia, 1698) • Revolutions of 1848‐1849 (Italian, German, Danish • German Revolution, 1918 • The Camisard Rebellion (France, 1702‐1715) States; Hungarian; Ireland; Wallachia; Moldavia • The Rakoczi Uprising (Habsburg Empire, 1703‐1711) • Herzegovinia Uprising (Ottoman, 1852‐1862) • The First Jacobite Rebellion (England, 1715) • • The Fourth Dalecarlian Rebellion (Sweden, 1743) Second Italian War for Independence (1859) • Jacobite Rising (Scotland, 1745‐1746) • January Uprising/Polish Uprising (Russia, 1863‐ 1865) • Pugachev Rebellion (Russia, 1773‐1775) • • The French Revolution, 1789‐1799 The Fenian Rising (Ireland, 1867) • Saxon Peasants’ Revolut, -
The Political and Popular Reception of Victor Hugo’S Les Misérables in Civil War America
Trinity College Trinity College Digital Repository Senior Theses and Projects Student Scholarship Spring 2018 “Books Like This Cannot Be Useless”: The Political and Popular Reception of Victor Hugo’s Les Misérables in Civil War America Emily S. Turner Trinity College, Hartford Connecticut, [email protected] Follow this and additional works at: https://digitalrepository.trincoll.edu/theses Part of the French and Francophone Literature Commons, and the Literature in English, North America Commons Recommended Citation Turner, Emily S., "“Books Like This Cannot Be Useless”: The Political and Popular Reception of Victor Hugo’s Les Misérables in Civil War America". Senior Theses, Trinity College, Hartford, CT 2018. Trinity College Digital Repository, https://digitalrepository.trincoll.edu/theses/711 TRINITY COLLEGE Senior Thesis “Books Like This Cannot Be Useless”: The Political and Popular Reception of Victor Hugo’s Les Misérables in Civil War America submitted by EMILY TURNER ‘18 In Partial Fulfillment of Requirements for the Degree of Bachelor of Arts 2018 Director: Christopher Hager Reader: Diana Paulin Reader: Dan Mrozowski Turner ii Table of Contents Acknowledgements…………………………………………………………………..…………iii Note About Translations……………………………………………………………………......iv Introduction……………………………………………………………………………………...v Chapter 1: “The Brutalities of Progress Are Called Revolutions”: Hugo’s Philosophy of Revolution……………………………………………………………………………….1 Chapter 2: “John Brown is Greater than Washington”: Hugo’s Philosophy and the American Political Divide……………………..……………………………………….………….32 Chapter 3: “Lee’s Miserables”: Critical Expectations and Popular Responses to Les Misérables ……………………………………………………………………………..59 Conclusion……………………………………………………………………………………...82 Bibliography………………………………………………………………………………...….91 Turner iii Acknowledgements There are many people who have made this thesis possible to whom I owe a word of thanks. Firstly, I would like to thank the Trinity College English Department, especially Professor Sarah Bilston for advising our thesis colloquium. -
“I Should Like to Say a Word Or Two About Your Empire”: Victor Hugo Le Grand, Napoléon III Le Petit, and the Historiographi
Portland State University PDXScholar Young Historians Conference Young Historians Conference 2019 May 1st, 9:00 AM - 10:15 AM “I Should Like to Say a Word or Two About Your Empire”: Victor Hugo le Grand, Napoléon III le Petit, and the Historiographical Battlefield of the rF ench Second Empire Madeleine Adriance St. Mary's Academy Follow this and additional works at: https://pdxscholar.library.pdx.edu/younghistorians Part of the European History Commons Let us know how access to this document benefits ou.y Adriance, Madeleine, "“I Should Like to Say a Word or Two About Your Empire”: Victor Hugo le Grand, Napoléon III le Petit, and the Historiographical Battlefield of the rF ench Second Empire" (2019). Young Historians Conference. 22. https://pdxscholar.library.pdx.edu/younghistorians/2019/oralpres/22 This Event is brought to you for free and open access. It has been accepted for inclusion in Young Historians Conference by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. 1 “I Should Like to Say a Word or Two About Your Empire”1: Victor Hugo le Grand, Napoléon III le Petit, and the Historiographical Battlefield of the French Second Empire Madeleine Adriance Mr. Vannelli PSU Honors History of Modern Europe, Block 2 17 March, 2019 1 Said by Victor Hugo at the National Assembly in 1851. Quoted in D’Ambès, Baron, Intimate Memoirs of Napoleon III: Personal Reminiscences of the Man and the Emperor, ed. and trans. A. R. Allinson (London: Stanley Paul & Co., 1912), 259. 2 The lapping of waves, the soft calls of seabirds, and the cool breeze buffeting patches of wildflowers are sounds typically uncommon to the battlefield. -
Do You Hear the People Sing?: Musical Aesthetics and French Nationalism in Alain Boubil and Claude-Michel Schonberg’S Adaptation of Victor Hugo’S Les Misérables
Do You Hear the People Sing?: Musical Aesthetics and French Nationalism in Alain Boubil and Claude-Michel Schonberg’s Adaptation of Victor Hugo’s Les Misérables Suvarna Variyar Introduction In 1936, Walter Benjamin argued that the processes of copying, reproduction, and adaptation strip authenticity from any original work.1 I seek here to apply this principle to the reformation of French author Victor Hugo’s 1862 literary opus Les Misérables, as it transforms from novel to Alain Boubil and Claude-Michel Schonberg’s 1980 French rock opera adaptation, and again to the highly successful 1985 English production by Cameron Mackintosh. Hugo’s original work was in effect a thesis novel,2 with its key premise being that post-revolutionary France was intrinsically sacred, thereby elevating the State as a formless ideal towards godhead. I will argue in this article that the extremely popular Anglophone musical adaptation of Les Misérables illustrates a number of translation and adaptation choices which minimise and sideline the sacral-national core of Hugo’s novel. These changes in turn highlight how the French state is conceived of as a sacral force in the original work - one framed by the unique European French linguistic and socio-historical context that defies transposition to a popular Anglophone discourse such as that of the Broadway musical - by examining the ways in which the contrasting aesthetics of language and narrative form serve to shape and alter meaning. This article addresses the following key questions: how does this theme fare when processed into a different form - the French rock opera of 1980 - Suvarna Variyar is a postgraduate student in the Studies in Religion department at The University of Sydney. -
Les Misérables As a Spiritual Practice the Rev
Listening to Les Misérables as a Spiritual Practice The Rev. Dr. J. Carl Gregg 13 March 2016 frederickuu.org Les Misérables premiered on Broadway in 1987, after earlier versions in France and London. I first encountered Les Mis in the early ‘90s. My church youth group took at trip to New York City that included seeing Les Mis. I had never paid attention to the musical before—other than seeing the ubiquitous t-shirts with the image of Cosette on the front. But after seeing the musical live in New York City, suddenly all of my peers were listening not only to the 1987 Original Broadway Cast recording, but also — if you were really cool — the 1989 3-CD Complete Symphonic Recording, featuring the entire score. The musical is based on the Victor Hugo’s massive 1862 novel of the same name, that weighs in at around 1,500 pages. Perhaps the biggest misconception about the musical is that it is set during the French Revolution. La grande revolution started in 1789 and includes all those famous moments such as attacking the Bastille and Marie-Antoinette facing the guillotine. But the insurrection featured in the musical is the 1832 June Rebellion in Paris, more than three decades after the end of the French Revolution. Victor Hugo witnessed that 1832 insurrection personally: “He walked the streets of Paris, saw the barricades blocking his way at points, and had to take shelter from gunfire” (Robb 173-4). So, !1 of !8 in the world of our play, it is the eve of the Paris Uprising. -
Bowl Round 6
2017-2018 IHBB Beta Bowl 2017-2018 Bowl Round 6 Bowl Round 6 – Middle School First Quarter (1) In 2003, the Rose Revolution forced this country’s President Eduard Shevardnadze to resign. This country was invaded in 2008 by Russia, who backed its breakaway republics of South Ossetia and Abkhazia, ruining Mikhail Saakashvili’s aspirations to join NATO. For ten points, name this westernmost country of the Caucasus, whose capital is Tbilisi and which is not to be confused with a US state. ANSWER: Georgia (2) This composer celebrated Romanov imperialism with the polonaise that ends his Symphony no. 3, “Polish.” This composer of the Marche Slave used “La Marseillaise” to represent Napoleon’s invading army and also wrote the music to the ballet Swan Lake. For ten points, name this Russian composer who included cannons in his 1812 Overture. ANSWER: Pyotr Ilyich Tchaikovsky (3) In an essay titled The Way of Wealth, this man claimed that “There are no gains without pains,” one of many maxims collected in an annual series that ran from 1732 to 1758 under the name Poor Richard’s Almanac. This man also founded a fire department in Philadelphia and the University of Pennsylvania. For ten points, name this US Founding Father on the $100 bill. ANSWER: Benjamin Franklin (4) Amantani Island is located on this lake and is currently home to thousands of Quechua-speaking peoples. This lake was viewed as sacred by the Incans, and is described as the highest navigable lake in the world. For ten points, name this lake that straddles the Bolivia-Peru border and is the largest lake in South America. -
LES MISÉRABLES National Tour
THE MUSICAL PHENOMENON DECEMBER 4–9, 2018 2018/2019 SEASON Great Artists. Great Audiences. Hancher Performances. CAMERON MACKINTOSH PRESENTS BOUBLIL & SCHÖNBERG’S A musical based on the novel by VICTOR HUGO Music by CLAUDE-MICHEL SCHÖNBERG Lyrics by HERBERT KRETZMER Original French text by ALAIN BOUBLIL and JEAN-MARC NATEL Additional material by JAMES FENTON Adaptation by TREVOR NUNN and JOHN CAIRD Original Orchestrations by JOHN CAMERON New Orchestrations by CHRISTOPHER JAHNKE STEPHEN METCALFE and STEPHEN BROOKER Musical Staging by MICHAEL ASHCROFT and GEOFFREY GARRATT Projections realized by FIFTY-NINE PRODUCTIONS Sound by MICK POTTER Lighting by PAULE CONSTABLE Costume Design by ANDREANE NEOFITOU and CHRISTINE ROWLAND Set and Image Design by MATT KINLEY inspired by the paintings of VICTOR HUGO Directed by LAURENCE CONNOR and JAMES POWELL For LES MISÉRABLES National Tour Casting by General Management TARA RUBIN CASTING/ GREGORY VANDER PLOEG KAITLIN SHAW, CSA for Gentry & Associates Executive Producers Executive Producers NICHOLAS ALLOTT & SETH SKLAR-HEYN SETH WENIG & TRINITY WHEELER for Cameron Mackintosh Inc. for NETworks Presentations Associate Sound Associate Costume Associate Lighting Associate Set Designer Designer Designer Designers NIC GRAY LAURA HUNT RICHARD PACHOLSKI DAVID HARRIS & CHRISTINE PETERS Resident Director Musical Director Musical Supervision Associate Director LIAM McILWAIN BRIAN EADS STEPHEN BROOKER & JAMES MOORE COREY AGNEW A CAMERON MACKINTOSH and NETWORKS Presentation 3 Photo: Matthew Murphy Matthew Photo: EVENT -
Teacher Preparation Guide
TEACHER PREPARATION GUIDE A NEW PRODUCTION OF BOUBIL & SCHÖNBERG’S MUSICAL EPIC BASED ON A NOVEL BY VICTOR HUGO DIRECTED BY VICTORIA BUSSERT DIRECTED BY TRACY YOUNG TABLE OF CONTENTS Dear Educator ………………………………………………………………………..... 3 A Note to Students: What to Expect at the Theater…………………………………… 4 GLT: Our History, Our Future………………………………………………………... 5 Director’s Note .......................…………………………………………………………. 6 Synopsis ……………………………………………………………………………….. 8 Musical Numbers ………………………………………………………………………. 10 About the Authors ……………………………………………………………………… 11 Victor Hugo …………………………………………………………………………….. 12 The June Rebellion …………………………………………………………………….. 13 Costume Design………………………………………………………………………… 14 Scenic Design…………………………………………………………………………... 18 Idaho Shakespeare’s Production of Les Misérables ……………………………………. 20 If You Have One Day to Prepare ………………………………………………………. 22 Victor Hugo’s France ………………………………………………………………….. 23 If You Have 3-5 Days to Prepare ………………………………………………………. 24 Victor Hugo Quotes ……………………………………………………………………. 24 Other Activities ………………………………………………………………………… 31 Sources …………………………………………………………………………………. 34 Comprehension Quiz ……………………………………………………..…………… 35 Notes …………………………………………………………………………………… 36 Generous Support …………………………………………………………………….... 39 About Great Lakes Theater ………….…………………………………………………. 40 ן TEACHER PREPARATION GUIDE: LES MISÉRABLES 2 Fall 2014 Dear Educator, Thank you for your student matinee ticket order to Great Lakes Theater’s production Les Misérables by Alain Boublil and Claude-Michel Schönberg, which will be performed -
Show Guide Table of Contents 1
SHOW GUIDE TABLE OF CONTENTS 1. VICTOR HUGO: The Man, The Artist ...p.1 2. LES MISÉRABLES: The Musical .........p.3 • The Synopsis…p.3-4 • Who’s Who (The Principal Characters)…p.5-6 • The Creative Team and more…p.7 • The Music…p.8 • The New Design…p.9-10 3. GO FIGURE ....................................... p.11 Facts, figures & more on the world-wide phenomenon 4. BUILDING THE BARRICADE ............. p.13 5. WHAT’S THE PRICE YOU MIGHT PAY? .. p.17 (Themes of Les Misérables) • Heroes and Heroines of the Barricade…p.17 • I Have a Dream…p.19 • At the End of the Day…p.21 • A Marked Man…p.23 6. FOR TEACHERS.................................p.25 i. Pre-show Lesson…p.25 ii. Post-show Lesson…p.29 iii. Learning Standards…p.33 7. ABOUT SOUTHGATE EDUCATION ........p.34 2017 National Tour. Photo: Matthew Murphy 2017 National Tour. Victor Hugo’s enormously successful career covered most of the 19th century Normandy. During these years, he wrote satires about Napoleon III and published and spanned both the Romantic and Realistic movements. A great writer, several novels including Les Misérables, which he had begun years earlier. artist, and moralist, Hugo was a man of many talents, high passion, and After the Franco-Prussian War and the fall of the Empire in 1870, Hugo made a unwavering conviction. triumphant return to Paris. In 1876, he was elected to the Senate and, despite Hugo was born on February 26, 1802. His father, General Joseph Leopold his failing health, continued to be active in political affairs. -
WORLD NUMISMATICS NEWSLETTER in MEMORY of RARE DATE/ASSAYER INITIALS RICHARD STUART COMBINATIONS 1783FM by Carlos Jara
July / August 2016 WORLD NUMISMATICS NEWSLETTER IN MEMORY OF RARE DATE/ASSAYER INITIALS RICHARD STUART COMBINATIONS 1783FM By Carlos Jara Rare date/assayer initials combinations for the Charles III Mexico City bust types: some considerations. The series of 8 Escudos and 8 Reales of the bust type minted in Mexico City between 1772 and 1789 contain 3 major rarities: the 8 Reales 1778 Mo-FM and 1783 Mo-FM, and the 8 Escudos 1784 Mo-FF. Whilst the numismatic community is well aware of the rarity of these issues – generally recognized as the key-dates of their respective types -, the circumstances behind their mintage seems to be rather poorly understood. We hope this short article will serve to clarify these circumstances, while also showing that most apparently random occurrences at the Mexico (or any Spanish Colonial mint) have a perfectly logical explanation. Introduction It is useful to recall the sequence of date/assayer initials combinations in the bust 8 Reales series for the 1778-1785 period minted in Mexico City. APRIL 23, 1926 – JUNE 20, 2016 Date/assayer initials combination Well known Central American specialist and collector Richard Mo-FF 1778 Stuart passed away on June 20, 2016 in California at age 90. Mr. Mo-FM 1778 Stuart began collecting in the late 1940’s with a broad interest in Latin America. From the early 1980’s onwards, Richard’s sole Mo-FM (?) 1 1779 focus was Central America as he sold his South American Mo-FF 1779 holdings. Most of the latter series (although not identified as such and now widely known as the “Americas” collection) were Mo-FF 1780 auctioned by Kagin’s at the 1983 ANA convention and that sale Mo-FF 1781 catalog remains a reference in its own right. -
Fiftieth Anniversary of the Minnesota Criminal Code: Looking Back and Looking Forward Paul H
William Mitchell Law Review Volume 39 | Issue 5 Article 10 2013 Fiftieth Anniversary of the Minnesota Criminal Code: Looking Back and Looking Forward Paul H. Anderson Follow this and additional works at: http://open.mitchellhamline.edu/wmlr Recommended Citation Anderson, Paul H. (2013) "Fiftieth Anniversary of the Minnesota Criminal Code: Looking Back and Looking Forward," William Mitchell Law Review: Vol. 39: Iss. 5, Article 10. Available at: http://open.mitchellhamline.edu/wmlr/vol39/iss5/10 This Article is brought to you for free and open access by the Law Reviews and Journals at Mitchell Hamline Open Access. It has been accepted for inclusion in William Mitchell Law Review by an authorized administrator of Mitchell Hamline Open Access. For more information, please contact [email protected]. © Mitchell Hamline School of Law Anderson: Fiftieth Anniversary of the Minnesota Criminal Code: Looking Back THE FIFTIETH ANNIVERSARY OF THE MINNESOTA CRIMINAL CODE: LOOKING BACK AND LOOKING FORWARD Closing Remarks by Justice Paul H. Anderson† It is a pleasure to join you this afternoon at William Mitchell College of Law to talk about Minnesota’s Criminal Code. In the interest of fair play and full disclosure, I need to tell you that I may be here under false pretenses. I fear that Professors Brad Colbert, Ted Sampsell-Jones, and Peter Knapp all believed that, in light of my pending retirement from the court, my closing remarks would be benign. I even suspect that there may have been some hope for a bit of gravitas that can sometimes come with a supreme court justice who has served for nearly nineteen years. -
“VICTOR HUGO” in 19TH-CENTURY FRENCH LITERATURE by Abigail
NAMING THE MASTER: THE EVOLVING SIGNIFICANCES OF “VICTOR HUGO” IN 19TH-CENTURY FRENCH LITERATURE by Abigail Alexander A dissertation submitted to Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy Baltimore, Maryland March, 2016 Abstract No name dominates the literature of the French 19th Century—and after—as pervasively as Victor Hugo’s. Thanks to this ubiquity, the evolving meanings of this name are visible in works by Hugo and by those who wrote under Hugo’s shadow. This study foregrounds the power of the act of naming to modify the significance of the name “Hugo,” from Sainte-Beuve and Gautier to Baudelaire, Rimbaud, Verlaine, and Mallarmé. The meanings of Hugo’s name, a name that both demands respect and yet also inspires dissent and revolution, depend upon its myriad interpretations from a community of namers that stretches as far as his renown. The import of “Hugo” lies in the hands of the namer, quite like the name of “God.” Through close readings of prefaces, poetry, novels, and essays, this dissertation analyzes these writers’ incorporations and projections of particular meanings of Hugo’s name in their works. While staking out their own subsequent literary revolutions, these writers often incorporate Hugo’s name to express both recognition for his contributions and resistance to their perceptions of his literary mission. By relying upon the philosophical approaches to “naming” offered by Plato, Lacan, Althusser, Genette, and Kripke, this investigation traces the creations and dissolutions of different meanings of the name “Hugo” that he and other 19th-century French writers projected.