Comprehension Genre a Play Is a Story Told Entirely Through Dialogue and MAIN SELECTION Intended to Be Performed
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Lord Lyon King of Arms
VI. E FEUDAE BOBETH TH F O LS BABONAG F SCOTLANDO E . BY THOMAS INNES OP LEABNEY AND KINNAIRDY, F.S.A.ScoT., LORD LYON KIN ARMSF GO . Read October 27, 1945. The Baronage is an Order derived partly from the allodial system of territorial tribalis whicn mi patriarce hth h hel s countrydhi "under God", d partlan y froe latemth r feudal system—whic e shale wasw hse n li , Western Europe at any rate, itself a developed form of tribalism—in which the territory came to be held "of and under" the King (i.e. "head of the kindred") in an organised parental realm. The robes and insignia of the Baronage will be found to trace back to both these forms of tenure, which first require some examination from angle t usuallno s y co-ordinatedf i , the later insignia (not to add, the writer thinks, some of even the earlier understoode symbolsb o t e )ar . Feudalism has aptly been described as "the development, the extension organisatione th y sa y e Family",o familyth fma e oe th f on n r i upon,2o d an Scotlandrelationn i Land;e d th , an to fundamentall o s , tribaa y l country, wher e predominanth e t influences have consistently been Tribality and Inheritance,3 the feudal system was immensely popular, took root as a means of consolidating and preserving the earlier clannish institutions,4 e clan-systeth d an m itself was s modera , n historian recognisew no s t no , only closely intermingled with feudalism, but that clan-system was "feudal in the strictly historical sense".5 1 Stavanger Museums Aarshefle, 1016. -
The Arms of the Baronial and Police Burghs of Scotland
'^m^ ^k: UC-NRLF nil! |il!|l|ll|ll|l||il|l|l|||||i!|||!| C E 525 bm ^M^ "^ A \ THE ARMS OF THE BARONIAL AND POLICE BURGHS OF SCOTLAND Of this Volume THREE HUNDRED AND Fifteen Copies have been printed, of which One Hundred and twenty are offered for sale. THE ARMS OF THE BARONIAL AND POLICE BURGHS OF SCOTLAND BY JOHN MARQUESS OF BUTE, K.T. H. J. STEVENSON AND H. W. LONSDALE EDINBURGH WILLIAM BLACKWOOD & SONS 1903 UNIFORM WITH THIS VOLUME. THE ARMS OF THE ROYAL AND PARLIAMENTARY BURGHS OF SCOTLAND. BY JOHN, MARQUESS OF BUTE, K.T., J. R. N. MACPHAIL, AND H. W. LONSDALE. With 131 Engravings on Wood and 11 other Illustrations. Crown 4to, 2 Guineas net. ABERCHIRDER. Argent, a cross patee gules. The burgh seal leaves no doubt of the tinctures — the field being plain, and the cross scored to indicate gules. One of the points of difference between the bearings of the Royal and Parliamentary Burghs on the one hand and those of the I Police Burghs on the other lies in the fact that the former carry castles and ships to an extent which becomes almost monotonous, while among the latter these bearings are rare. On the other hand, the Police Burghs very frequently assume a charge of which A 079 2 Aberchirder. examples, in the blazonry of the Royal and Parliamentary Burghs, are very rare : this is the cross, derived apparently from the fact that their market-crosses are the most prominent of their ancient monuments. In cases where the cross calvary does not appear, a cross of some other kind is often found, as in the present instance. -
Expression of Language Etiquette in Russian Folktales
Expression of Language Etiquette in Russian Folktales Ildiko Csajbok-Twerefou, Department of Modern Languages, University of Ghana Yuriy Dzyadyk, Department of Modern Languages, University of Ghana Abstract Using different methods of analysis, this paper examines maxims of language etiquette, such as request, address forms and greetings in selected Russian folktales. Though language etiquette as a segment of politeness has its standards, it is dynamic, so it varies due to political, social, economic or cultural factors. Yet, folktales as a source of customs and beliefs, constitute an integral part of cultural heritage, serve as a means of upbringing, and play an important role in the linguistic development of a person. In Russia, expressions of politeness found in folktales are applied in accordance with the current requirements of Russian society. Keywords: Politeness, folklore, culture, language. Introduction Culture, traditions, language, and folklore are strongly related to each other and vary from nation to nation. Knowing the culture of a society, one may be acquainted with the traditions, language and folklore of that particular society, since culture encompasses all of them. The word folklore can be translated as “knowledge of people”. When referring to folklore in general, one may think about different genres, such as music, dance, tales, arts, crafts, etc. Usually, folklore is characterized by its collectiveness, since it is made on the earlier established traditions and standards of a society, taking into consideration its requirements and perceptions (Keszeg 2008). On the other hand, folklore is a piece of art, which exists not only by means of verbal units, but it often includes gestures, theatrical elements, dancing and singing. -
Public Image and Political Influence of Princess Charlotte and Queen Adelaide
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2003 Reform, Radicalism, and Royalty: Public Image and Political Influence of Princess Charlotte and Queen Adelaide Eileen Robin Hintz College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the European History Commons, and the Women's Studies Commons Recommended Citation Hintz, Eileen Robin, "Reform, Radicalism, and Royalty: Public Image and Political Influence of Princess Charlotte and Queen Adelaide" (2003). Dissertations, Theses, and Masters Projects. Paper 1539626412. https://dx.doi.org/doi:10.21220/s2-ehge-1b89 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. REFORM, RADICALISM, AND ROYALTY: Public Image and Political Influence of Princess Charlotte and Queen Adelaide A Thesis Presented to The Faculty of the Department of History The College of William and Mary in Virginia In Partial Fulfillment Of the Requirements for the Degree of Master of Arts by Eileen Hintz 2003 APPROVAL SHEET This thesis is submitted in partial fulfillment of the requirements for the degree of Master of Arts Eileen Hintz Approved by the Committee, December 2003 _ ___ James McCord Chandos Brown ff — Gilbert McArthur TABLE OF CONTENTS Page ACKNOWLEDGEMENTS iv LIST OF ILLUSTRATIONS v ABSTRACT vi INTRODUCTION 2 CHAPTER I. THE DEATH OF PRINCESS CHARLOTTE [NOVEMBER 1817] 6 CHAPTER II. -
David Mamet in Conversation
David Mamet in Conversation David Mamet in Conversation Leslie Kane, Editor Ann Arbor Copyright © by the University of Michigan 2001 All rights reserved Published in the United States of America by The University of Michigan Press Manufactured in the United States of America ∞ Printed on acid-free paper 2004 2003 2002 2001 4 3 2 1 No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, or otherwise, without the written permission of the publisher. A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data David Mamet in conversation / Leslie Kane, editor. p. cm. — (Theater—theory/text/performance) Includes bibliographical references and index. ISBN 0-472-09764-4 (cloth : alk. paper) — ISBN 0-472-06764-8 (pbk. : alk. paper) 1. Mamet, David—Interviews. 2. Dramatists, American—20th century—Interviews. 3. Playwriting. I. Kane, Leslie, 1945– II. Series. PS3563.A4345 Z657 2001 812'.54—dc21 [B] 2001027531 Contents Chronology ix Introduction 1 David Mamet: Remember That Name 9 Ross Wetzsteon Solace of a Playwright’s Ideals 16 Mark Zweigler Buffalo on Broadway 22 Henry Hewes, David Mamet, John Simon, and Joe Beruh A Man of Few Words Moves On to Sentences 27 Ernest Leogrande I Just Kept Writing 31 Steven Dzielak The Postman’s Words 39 Dan Yakir Something Out of Nothing 46 Matthew C. Roudané A Matter of Perception 54 Hank Nuwer Celebrating the Capacity for Self-Knowledge 60 Henry I. Schvey Comics -
STUDY GUIDE for PLAYHOUSE on the SQUARE's
STUDY GUIDE for PLAYHOUSE ON THE SQUARE’S Touring production of February 21 - March 9, 2012 & May 1 - May 18, 2012 Study Guide by: Andrea Rouch Playhouse on the Square 66 South Cooper St. Memphis, TN 38104 Theatre for Youth: (901) 728-5631 Business Office: (901) 725-0776 Box Office & Group Sales: (901) 726-4656 www.playhouseonthesquare.org table of contents Part One: The Play.................................................................1 Synopsis................................................................................................................................................1 Vocabulary...................................................................................................................................................2 Part Two: Background...........................................................3 About the Playwright......................................................................................................................3 Origins of the Play..............................................................................................................................3 About Brothers Grimm....................................................................................................................4 Part Three: Activities and Discussion.................................5 Before Seeing the Play...................................................................................................................5 After Seeing the Play......................................................................................................................5 -
And Queen Dowager (1837-1849) 1818-1849 (Compiled by J
Household of Princess Adelaide, Duchess of Clarence (1818-1830), Queen (1830-1837), and Queen Dowager (1837-1849) 1818-1849 (compiled by J. C. Sainty and R. O. Bucholz) Anderson, James M. S. Chaplain at Brighton occ. 1834-1850 (RK [1834], p. 128; last occ. [as Chaplain] ibid. [1850-sic], p. 157). Vac. 2 Dec. 1849 on d. of Queen Adelaide. Andrews, Magnus W. Apothecary occ. 1834 (RK [1834], p. 128). Vac. by 1835 (RK [1835], p. 128). --Apothecary to the Household occ. 1834-1835 (RK [1834], p. 128; last occ. ibid. [1835], p. 128). Vac. by 1836 (RK [1836], p. 129). Arnold, Elizabeth Assistant Dresser occ. 1837 (RK [1837], p. 129). First Dresser occ. 1838-1850 (RK [1838], p. 130; last occ. ibid. [1850-sic], p. 157). Vac. 2 Dec. 1849 on d. of Queen Adelaide. Ashley, Hon. William Vice Chamberlain occ. 1832-1844 (RK [1832], p. 128; last occ. ibid. [1844], p. 158]). Vice Chamberlain and Almoner occ. 1845-1846 (RK [1845], p. 157; last occ. ibid. [1846], p. 157). Vice Chamberlain occ. 1847-1850 (RK [1847], p. 158; last occ. ibid. [1850-sic], p. 156 ). Vac. 2 Dec. 1849 on d. of Queen Adelaide. --Treasurer app. 27 Oct. 1834 (GM [1834], n.s. II, 640). Occ. 1835-1844 (RK [1835], p. 128; last occ. ibid. [1844], p. 158). Office no further occ. Arnott (Arnold), James M. Surgeon Extraordinary app. 23 July 1830 (GM [1830], c (2), 76). Occ. 1831-1850 (RK [1831], p. 127; last occ. ibid. [1850-sic], p. 157). Vac. 2 Dec. 1849 on d. of Queen Adelaide. -
The Princess Knight
THE PRINCESS KNIGHT By Martin Follose Copyright © MCMXCVI by Martin Follose All Rights Reserved Heuer Publishing LLC, Cedar Rapids, Iowa Professionals and amateurs are hereby warned that this work is subject to a royalty. Royalty must be paid every time a play is performed whether or not it is presented for profit and whether or not admission is charged. A play is performed any time it is acted before an audience. All rights to this work of any kind including but not limited to professional and amateur stage performing rights are controlled exclusively by Heuer Publishing LLC. Inquiries concerning rights should be addressed to Heuer Publishing LLC. This work is fully protected by copyright. No part of this work may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without permission of the publisher. Copying (by any means) or performing a copyrighted work without permission constitutes an infringement of copyright. All organizations receiving permission to produce this work agree to give the author(s) credit in any and all advertisement and publicity relating to the production. The author(s) billing must appear below the title and be at least 50% as large as the title of the Work. All programs, advertisements, and other printed material distributed or published in connection with production of the work must include the following notice: “Produced by special arrangement with Heuer Publishing LLC of Cedar Rapids, Iowa.” There shall be no deletions, alterations, or changes of any kind made to the work, including the changing of character gender, the cutting of dialogue, or the alteration of objectionable language unless directly authorized by the publisher or otherwise allowed in the work’s “Production Notes.” The title of the play shall not be altered. -
Locations & Mob Drops
Princess Knight Claris Ver 1.0 Guide by MeltyQuest on F95ZONE Note: This guide doesn’t include information on how to unlock the lewd scenes as I found that most of them were fairly straightforward on how to unlock once you have raised Claris’s Control and Lewdness which is the difficult part. General Tips: • I strongly recommend a virgin playthrough first as it makes corrupting Claris much easier. Drugs seem to be the easiest way to raise control aside from it getting raised in events which are fairly sparse. • Virgin End gives 10 White Powder (1-5 Control), 10 Dangerous Syringe (3-8 Control), up to 130 control depending on how much you reroll for best rolls (I believe highest control requirement in the game is 120 Control). • The best way to farm gold is taking the ship to Pirate’s Cave (-5KG or -1KG), collecting the weapon and accessory on the way to the boss, killing the boss (+2KG), taking the treasure (+15KG), then warping back home at repeating. • Note to get the treasure you must first kill 100 bandits, get reward at back of bandit cave, and give to guy in prison in castle. • Claris becomes a lot weaker as you raise her lewdness (and maybe control), removes auto- healing and other buffs. • Once you can lose to the succubus you can very easily raise your Lewdness to max. Lose to her repeatedly with no need to reset the dungeon for 1-5 Lewdness per loss to hit max quickly. Even if you need to kill her your lewdness will increase but you will need to walk back after resetting. -
The Frog Prince
THE FROG PRINCE Adapted by MAX BUSH A play for young chil dren based on the Olenberg manu- script and var i ous edi tions of the tale The King’s Daugh ter and the En chanted Prince by the Brothers Grimm. Dra matic Pub lishing Woodstock, Il li nois • Eng land • Aus tra lia • New Zea land *** NO TICE *** The am a teur and stock act ing rights to this work are con trolled ex clu- sively by THE DRA MATIC PUB LISHING COM PANY with out whose per mis sion in writ ing no per for mance of it may be given. Roy alty must be paid ev ery time a play is per formed whether or not it is pre sented for profit and whether or not ad mis sion is charged. A play is per formed any time it is acted be fore an au di ence. Current roy alty rates, appli ca tions and re stric tions may be found at our website: www.dramaticpublishing.com, or we may be con tacted by mail at: DRA MATIC PUB LISHING COM- PANY, 311 Wash ing ton St., Woodstock IL 60098. COPY RIGHT LAW GIVES THE AU THOR OR THE AU THOR’S AGENT THE EX CLU SIVE RIGHT TO MAKE COPIES. This law pro - vides au thors with a fair re turn for their cre ative ef forts. Au thors earn their liv ing from the royal ties they receive from book sales and from the per for mance of their work. Con sci en tious ob ser vance of copy right law is not only eth i cal, it en cour ages au thors to con tinue their cre ative work. -
A MODERN MONARCHY the Swedish Royal Family Is One of the Oldest Royal Families in the World, Yet Regarded As the World’S Most Modern by Many
FACTS ABOUT SWEDEN | MONARCHY sweden.se PHOTO: JONAS EKSTRÖMER/TT PHOTO: The Royal Family at Solliden Palace, on the island of Öland. MONARCHY: A MODERN MONARCHY The Swedish Royal Family is one of the oldest royal families in the world, yet regarded as the world’s most modern by many. In 1980, Sweden became the first monarchy to change its succes- sion rites so that the first-born child of the monarch is heir to the throne, regardless of gender. Ambitious and with charm to spare, Crown Princess Victoria seems more than ready for the task. The Swedish monarchy is certainly used were discussions about reforming the their first child: second in line to the to the eyes of media. Recent years have Succession Act and make it gender neu Swedish throne, Princess Estelle was offered up a series of weddings and tral. The change eventually took place born on 23 February 2012. On 2 March births that have put them even more into three years after her birth but was made 2016, Victoria gave birth to her second the spotlight – nationally and interna retroactive, which immediately changed child, Prince Oscar. tionally. Victoria’s title from Princess to Crown On 20 February 2014, Victoria’s youn Perhaps none was as widely followed Princess. ger sister Madeleine gave birth to Prin as the marriage between Crown Princess cess Leonore. The father is BritishAme Victoria and Daniel Westling. Royal nuptials and births rican businessman Christopher O'Neill. The celebrations around Victoria’s mar On 15 June 2015, Princess Madeleine Heir apparent riage to Daniel Westling, previously a and O’Neill had their second child, As the eldest of three siblings, Victoria gym owner and personal trainer, on Prince Nicolas. -
RAFA 2015.Pdf
www.mkrf.ru RAFA is Russian animated film association. RAFA represents the interests of the Russian animation industry and helps to create favorable conditions for the effective development of anima tion in Russia and worldwide. RAFA represents the interests of animation studios of all sizes, as well as individual flmmakers working in animation, including indep endent directors, production designers, animators etc. The association also includes organizations which are involved in animation: TV networks with an interest in animation,distribution companies and Internet companies, that is, all organizations whose business is related to the field of animation and who are interested in joining forces. • If you need to communicate with any Russian studio, organization or animator, • If you need assistance in participation in festivals and film markets in Russia, • If you need to organize the presentation of your services to Russian partners, • If you need talents and studios for co-production JUST CONTACT RAFA! RAFA is proud to present opportunity of Russian animation to you. Today RAFA is 40 best Russian studios that able for cooperation with you and 200 animators, composers, producers etc that would like to join your team. 4 5 CONTENTS RAFA 3 OPENING WORD 7 RUSSIAN ANIMATION TODAY 8 STUDIOS 10 SHORTS 180 ALPHABETICAL LIST 200 ON THE CATALOG WORKED 203 6 7 Dear friends, Russian Animated Film Association offers you the fourth edition of a catalogue of current animated films. In the new release, you will find information on all latest releases in the Russian animated film industry in 2014 and early in 2015. The new catalogue fundamentally differs from its predecessors.