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THE MISMEASURE of MAN Revised and Expanded
BY STEPHEN JAY GOULD IN NORTON PAPERBACK EVER SINCE DARWIN Reflections in Natural History THE PANDA'S THUMB More Reflections in Natural History THE MISMEASURE OF MAN Revised and Expanded HEN'S TEETH AND HORSE'S TOES Further Reflections in Natural History THE FLAMINGO'S SMILE Reflections in Natural History AN URCHIN IN THE STORM Essays about Books and Ideas ILLUMINATIONS A Bestiary (with R. W. Purcell) WONDERFUL LIFE The Burgess Shale and the Nature of History BULLY FOR BRONTOSAURUS Reflections in Natural History FINDERS, KEEPERS Treasures amd Oddities of Natural History Collectors from Peter the Great to Louis Agassiz (with R. W. Purcell) THE MISMEASURE OF MAN To the memory of Grammy and Papa Joe, who came, struggled, and prospered, Mr. Goddard notwithstanding. Contents Acknowledgments 15 Introduction to the Revised and Expanded Edition: Thoughts at Age Fifteen 19 The frame of The Mismeasure of Man, 19 Why revise The Mismeasure of Man after fifteen years?, 26 Reasons, history and revision of The Mismeasure of Man, 36 2. American Polygeny and Craniometry before Darwin: Blacks andlndians as Separate, Inferior Species Cfolj 62 A shared context of culture, 63 Preevolutionary styles of scientific racism: monogenism and polygenism, 71 Louis Agassiz—America's theorist of polygeny, 74 Samuel George Morton—empiricist of polygeny, 82 The case of Indian inferiority: Crania Americana The case of the Egyptian catacombs: Crania Aegyptiaca The case of the shifting black mean The final tabulation of 1849 IO CONTENTS Conclusions The American school and -
Of Idiocy, Moroseness, and Vitriol Soloists of Rage in Ben Jonson's
Of Idiocy, Moroseness, and Vitriol Soloists of Rage in Ben Jonson’s Satire Rui Carvalho Homem A punitive design energised by a sense of self-righteousness is probably the most persistent de- fining trait of the satiric voice within a conventional understanding of this literary mode. Em- powered by a set of exacting values, the satiric persona inveighs against vice or folly, his or her verbal energy hardly accommodating the possibility of doubt. Satire’s ‘radical moral stance’, its assuredness regarding ‘standards’, and its sharp sense of ‘direction’ have often been critically argued. And its appertaining urge to discriminate, with vehemence and imperiousness, is best served by the singularity of a raging voice, unforgivingly pronouncing on the ills of other indi- viduals or of a community. The work of Ben Jonson contains several generic environments in which the satiric mode can become manifest, ranging from the ostensibly monological regime of the Epigrams or the pro- logues to his plays to frequent tirades delivered by unflinching or obsession-driven dramatic characters. A discursive feature of those characters in the comedies who voice their highly strung satiric indignation is precisely that, even when they do so as apparent contributions to dramatic dialogue, their verbal excess highlights the isolation, self-centredness, and inability to communi- cate that defines them. But the moment when the satiric ranter becomes an object as much as an agent of satire is also when the rationale for the supposed normative value of satiric denunciation reaches its breaking point. By setting off the strong presence of irony and inconclusiveness in Jonson’s construction of satiric solo performances, this paper partakes in the interrogation of tra- ditional definitions of satire that has characterised recent critical revisitations of the mode — while it also underlines the extent to which such interrogation coincides with a fundamental swerve in Jonson’s critical reputation. -
Nigerian Pidgin Use and Strategies Employed by Stand-Up Comedians to Achieve Interaction in Comedy
Nigerian Journal of African Studies, Vol. 2 No. 1, 2020 (ISSN: 2734-3146) NIGERIAN PIDGIN USE AND STRATEGIES EMPLOYED BY STAND-UP COMEDIANS TO ACHIEVE INTERACTION IN COMEDY Nneoma Chiebuka Ngige Department of English Language and Literature Nnamdi Azikiwe University, Awka Email: [email protected] Abstract This study is aimed at looking at the use of Nigerian Pidgin and strategies employed by stand-up comedians to achieve interaction in comedy. Stand-up comedy, an oral dramatic performance commonly enacted by a solo-performance before a live audience, are known to use Nigerian Pidgin creatively to create comedy and entertain their audience. Their patterns and choices of language can sometimes have hidden meanings that show Nigerian ways of life and their tone of utterance can sometimes be inappropriate. This study therefore examines the strategies deployed by stand-up comedians with the view to determine the role of Nigerian Pidgin as a veritable source in comedy production and consumption. Hence, the purpose of this study is to analyze the strategies employed by Nigerian stand-up comedians to achieve interaction in comedy, their patterns and choices of language as they are used to create comedy to entertain their audience. This work reveals how Nigerian Pidgin reflects social relationship between the comedian and his audience. It also reveals that pidgin is an informal language, and so its informality creates an equal social relationship in an informal setting which aids laughter. Introduction Language can be described as a dynamic, social and interactive phenomenon -whether between the speaker and the listener, or writer and the reader (Crystal 19). -
Powerful Memoir from an American Master
POWERFUL MEMOIR FROM AN AMERICAN MASTER AUGUST WILSON’S CO-CONCEIVED & DIRECTED BY TODD KREIDLER FEATURING HOW I LEARNED EUGENE LEE WHAT I LEARNED CURRICULUM GUIDE TABLE OF CONTENTS Standards 3 Guidelines for Attending the Theatre 4 Artists 5 Themes for Writing & Discussion 8 Mastery Assessment 11 For Further Exploration 12 Suggested Activities 17 © Huntington Theatre Company Boston, MA 02115 March 2015 No portion of this curriculum guide may be reproduced without written permission from the Huntington Theatre Company’s Department of Education & Community Programs Inquiries should be directed to: Donna Glick | Director of Education [email protected] This curriculum guide was prepared for the Huntington Theatre Company by: Alexandra Truppi I Manager of Curriculum & Instruction with contributions by: Donna Glick | Director of Education COMMON CORE STANDARDS IN ENGLISH LANGUAGE ARTS STANDARDS: Student Matinee performances and pre-show workshops provide unique opportunities for experiential learning and support various combinations of the Common Core Standards for English Language Arts. They may also support standards in other subject areas such as Social Studies and History, depending on the individual play’s subject matter. Activities are also included in this Curriculum Guide and in our pre-show workshops that support several of the Massachusetts state standards in Theatre. Other arts areas may also be addressed depending on the individual play’s subject matter. Reading Literature: Key Ideas and Details 1 Reading Literature: Craft and Structure 5 • Grade 7: Cite several pieces of textual evidence to support analy- • Grade 7: Analyze how a drama’s or poem’s form or structure sis ofwhat the text says explicitly as well as inferences drawn (e.g., soliloquy, sonnet) contributes toits meaning. -
“Brownsville Song (B-Side for Tray)” a New Play by KIMBER LEE Directed by PATRICIA Mcgregor
LINCOLN CENTER THEATER CASTING ANNOUNCEMENT FOR IMMEDIATE RELEASE, PLEASE SHELDON BEST, SUN MEE CHOMET, LIZAN MITCHELL, CHRIS MYERS, TALIYAH WHITAKER TO BE FEATURED IN THE LCT3/LINCOLN CENTER THEATER NEW YORK PREMIERE PRODUCTION OF “brownsville song (b-side for tray)” A new play by KIMBER LEE Directed by PATRICIA McGREGOR 6 WEEKS ONLY! SATURDAY, OCTOBER 4 THROUGH SUNDAY, NOVEMBER 16 OPENING NIGHT, MONDAY, OCTOBER 20 AT THE CLAIRE TOW THEATER Sheldon Best, Sun Mee Chomet, Lizan Mitchell, Chris Myers and Taliyah Whitaker will comprise the cast of the upcoming LCT3/Lincoln Center Theater New York premiere production of brownsville song (b-side for tray), a new play by Kimber Lee. The production, to be directed by Patricia McGregor, will begin performances Saturday, October 4, running for six weeks only through Sunday, November 16 at the Claire Tow Theater (150 West 65 Street). Opening night is Monday, October 20. brownsville song (b-side for tray) moves fluidly through time as the family of Tray (Sheldon Best), a spirited 18 year-old whose life is cut short, navigate their grief and find hope together. Playwright KIMBER LEE’s plays include fight and tokyo fish story. Center Theatre Group recently presented the world premiere of her play different words for the same thing in Los Angeles at the Kirk Douglas Theatre. Lee’s work has also been presented by the Lark Play Development Center, Page 73, Hedgebrook, Seven Devils, the Bay Area Playwrights Festival, REPRESENT!, Playwrights Festival ACT/Seattle, Great Plains Theatre Conference, Southern Rep and Mo`olelo. Lee’s play fight received the 2010 Holland New Voices Award, and she has been a Lark Playwrights’ Workshop Fellow, a Dramatists Guild Fellow, and a Core Apprentice at The Playwrights’ Center. -
Polish American and Additional Entry Offices
POLONIA CONGRATULATES POLISH PRESIDENTPOLISH IN NEW AMERICAN YORK — JOURNAL PAGE 3 • NOVEMBER 2015 www.polamjournal.com 1 PERIODICAL POSTAGE PAID AT BOSTON, NEW YORK NEW BOSTON, AT PAID PERIODICAL POSTAGE POLISH AMERICAN OFFICES AND ADDITIONAL ENTRY DEDICATED TO THE PROMOTION AND CONTINUANCE OF POLISH AMERICAN CULTURE JOURNAL REMEMBERING PULASKI AND “THE BIG BURN” ESTABLISHED 1911 NOVEMBER 2015 • VOL. 104, NO. 11 | $2.00 www.polamjournal.com PAGE 16 POLAND MAY SUE AUTHOR GROSS •PASB TILE CAMPAIGN UNVEILING•“JEDLINIOK” TOURS THE EASTERN UNITED STATES HEPI FĘKSGIWYŃG! • A LOOK AT POLAND’S LUTHERANS • FR. MAKA ENLISTS IN NAVY • NOVEMBER HOLIDAYS DO WIDZENIA OR WITAMY AMERIKA? • FATHER LEN’S POLISH CHRISTMAS LEGACY • WIGILIA FAVORITES MADE EASY Newsmark Makes First US Visit Fired Investigator Says US SUPPLY BASES IN POLAND. Warsaw and Washing- House Probe Is Partisan ton have reached agreement on the location of fi ve U.S. WASHINGTON — A The move military supply bases in Poland. The will be established former investigator for the d e - e m - in and around existing Polish military bases Łask, Draws- House Select Committee on phasized ko Pomorskie, Skwierzyna, Ciechanów and Choszczno. PHOTO: RADIO POLSKA Benghazi says he was unlaw- o t h e r Tanks, armored combat vehicles and other military equip- fully fi red in part because he agencies ment will form part of NATO’s quick-reaction spearhead. sought to conduct a compre- involved Siting the storage bases in Poland is expected to facilitate hensive probe into the deadly with the swift mobilization in the event of an attack. The project attacks on the U.S. -
Polish Jokes About Americans I C a E
I n v e s t i g a t i o n e s L i n g u i s t Polish Jokes about Americans i c a e , Dorota Brzozowska v o l . X I , Institute of Polish Language, University of Opole P o z ul. Oleska 48, 45-052 Opole, POLAND n a ń , [email protected] D e c e m b e r 2 0 Abstract 0 4 The objective of the present paper is to analyze the character of Polish jokes about Americans and to find out what these jokes say about Poles. The latter question results from the assumption that stereotypes reveal more about those who propagate them than about those who allegedly represent particular traits. The popularity of Americans is a certain novelty in contemporary Polish jokes and this fact could be interpreted as another element in the processes of so-called McDonaldization. The texts are presented by the chronology of events they refer to. Americans are perceived by Poles as the enemies of the Russians, and so as a positive protagonist, a symbol of the high standard of living and an embodiment of the dream of success and freedom. Wide open spaces and big American cities, cowboys, Indians, Hollywood and Coca Cola are other symbols frequently occurring in jokes. AIDS and drug addictions are also supposed to be the products of America altogether with American right to carry arms, litigiousness and death penalty. Another feature of the Americans readily exploited by scoffers is a relatively short history and the hypocrisy of American political correctness. -
CONTENTS Press Release Pg. 2 Creative Team Pgs. 3-5 Reviews Pg
1 NY Fringe Outstanding Solo Performance Award-winner David Carl channels two famous icons pushing the boundaries of sanity, Hamlet and Gary Busey, in this offbeat, critically acclaimed one-man show. Having triumphed in Celebrity Big Brother, survived Celebrity Rehab with Dr. Drew, and taken on Donald Trump and Meatloaf, Keanu Reeves’ favorite costar now undertakes his biggest challenge yet: performing all the parts in Hamlet with outrageous songs, twisted speeches and homemade puppets. Directed and Co-created by Michole Biancosino. Carl portrays the ultimate Celebrity-driven Hamlet in what the New York Times has deemed “Deliciously deranged...a head-spinning performance!" A hit among critics, Shakespeare scholars and action movie fans alike, don’t miss out on the tragically epic madness. More info can be found at www.buseyhamlet.com CONTENTS Press Release pg. 2 Creative Team pgs. 3-5 Reviews pg. 6 Show history pg. 7 Media Coverage & Contacts pg. 8 2 For Immediate Release Busey-Hamlet Parody Hit Returns to The People’s Improv Theater with New Title NEW YORK CITY – Following this summer’s critically acclaimed run at Chicago Shakespeare Theater, and in the footsteps of Gary Busey’s recent Off-Broadway Perfect Crime debut, the formerly titled Gary Busey’s One-Man Hamlet returns to The PIT Loft for two performances on January 9 & 10 as the newly minted David Carl’s Celebrity One-Man Hamlet. The New York Times called the show "Deliciously deranged...a head-spinning performance!" The Chicago Tribune said, "Bold and often hilarious...thoroughly enjoyable...spot-on impression." As Shakespearean actor, puppeteer, singer and action-movie hero, New York actor-writer David Carl impersonates Gary Busey performing each scene of Hamlet with occasional detours across Mr. -
GLOSSARY of TERMS USED in the AVTA (Pre-1930S Australian Variety Industry Specific)
GLOSSARY OF TERMS USED IN THE AVTA (Pre-1930s Australian Variety Industry Specific) NB: The various genre terms below were invariably applied "freely" within the industry and hence their use often became somewhat "arbitrary." For a comprehensive analysis of these terms see their entries linked to the Genre page. Blue-coloured script indicates a hyperlink to an individual entry within the AVTA. ˚˚˚ ABORIGINALITIES: The only use of this term identified to date is its frequent application in advertising for Dave "Murrumbidgee" Gardner, a Melbourne-based comedian associated with Melbourne's Peoples Popular Concerts during the 1890s. While details concerning his act are yet to be located, it is possible that he may have been the first, if not the only, minstrel comic to affect an indigenous character type on the Australian stage. ACROBATIC ACTS: Acrobatic acts were a mainstay of vaudeville from the early 1900s onwards. While some performers came from circus backgrounds (e.g. The St Leons), the vast majority of acts were specifically designed for the stage by variety artists like the Four Stagpooles who specialised in knockabout/ acrobatic comedy. The type of acts presented, limited only by the imagination, included balancing, tumbling, teeterboard, knockabout comedy and bar acts. Aerial and wire work tended to be a feature of the bigger companies which utilised venues with larger stage areas. Some popular acts included: The Two Harlans, Kitchie and Kliftie, and Klinto and Wade/Klinto and Mack. ● See also: Knockabout Comedy ACT: 1. A self-contained performance with no connection to any other part of a minstrel or vaudeville programme. -
Programming; Providing an Environment for the Growth and Education of Theatre Professionals, Audiences, and the Community at Large
AUGUST 2016 WELCOME Welcome to the funny, unexpected, and delightfully off-kilter world of Meteor Shower. With this world premiere production, we’re thrilled to continue our ongoing relationship with the brilliant artist Steve Martin. The Globe’s production of Bright Star, Steve and Edie Brickell’s new musical that premiered here in 2014, transferred to Broadway earlier this year, where it was nominated for an impressive five Tony Awards, including Best Musical. Next season, the Globe will mount a major revival of Steve’s 1993 play Picasso at the Lapin Agile. We’re glad Steve has found a new artistic home here in San Diego. The Globe is an especially fitting place to premiere Meteor Shower because it is a DOUGLAS GATES California story. Set in Ojai in the 1990s, Managing Director Michael G. Murphy and Erna Finci Viterbi Artistic Director Barry Edelstein. the play examines a specific moment in the life of our state. It’s a theatrical snapshot of the mores and (kooky) ways of society in Southern California, and though it’s set in the past, it’s eminently recognizable to Californians today. It’s also a pleasure to welcome yet another artistic director of a major regional theatre here at the Globe. Gordon Edelstein is the Artistic Director of Long Wharf Theatre in Connecticut, the great company we’re partnering with to co-produce this show, and the fifth artistic director to helm a show at the Globe this year. And because we know you’re wondering: no, Gordon and Barry are not related, except in their devotion to the wonders of theatre. -
4000 Miles” by Contemporary Playwright, Amy Herzog, Will Be Performed in the Carousel Theatre October 30 Through November 16, 2014
Press Release Clarence Brown Theatre • 206 McClung Tower • Knoxville, TN 37996 For more information contact: Robin Conklin, Marketing & Communications Director [email protected] or 865-974-2497 For immediate release: Time Magazine’s Play of the Year Rides into the Carousel Theatre The award-winning “4000 Miles” by contemporary playwright, Amy Herzog, will be performed in the Carousel Theatre October 30 through November 16, 2014. The show is sponsored by The Clayton Foundation and Pilot Flying J. Media sponsors include WUTK, WUOT and The Knoxville News Sentinel. The production is performed without an intermission and contains adult content and language. The touching and humorous production follows Leo, a 21-year-old tree-hugger from Seattle who bicycles across the country and winds up, unexpectedly, at the doorstep of his feisty Jewish grandmother’s New York City apartment. Over the course of their reconnection, we discover their conflicting politics and the fragile connection they share between growing up and growing old. When Leo's ex-girlfriend shows up, the unusual events of his journey begin to unfold. As much about overcoming grief as it is about reaching across great distances be they miles or decades, in “4000 Miles” Leo and Vera become each other’s life raft. “This show is about finding the common ground between people we think have nothing in common, and respecting the impasses that can exist between people we see as completely compatible. It gets us to notice our presumptions and expectations and maybe even start thinking beyond them. It's about healing. It's about muscling on. -
Folklore Archive
Folklore Archive Papers, 1939-1995 43 linear feet Accession #1731 DALNET # OCLC # Selected materials from the Wayne State University Folklore Archive were transferred to the Archives of Labor and Urban Affairs in July of 1999 by the Archive’s director, Professor Janet Langlois, and opened for research in March of 2000. The Folklore Archive, established in 1939 by WSU English professors Emlyn Gardner and Thelma James, contains the oldest and largest record of urban folk traditions in the United States. At its core are thousands of student field research projects covering a broad range of topics. These projects typically consist of transcripts of oral interviews conducted by the students as part of their research. The collection is strong in modern industrial and occupational folklore, reflecting the rich ethnic diversity and work-oriented heritage of Detroit and southeastern Michigan. The Archive also contains oral histories (tapes and transcripts) and scholarly papers documenting Greek-American family life and the migration of Southern Appalachian whites to the metropolitan Detroit area and oral interviews with Pete Seeger and Irwin Silber of People’s Songs, Inc., which collected, published and promoted folksongs, particularly labor and protest songs. Important subjects in the collection: Afro-Americans--Medicine Afro-Americans--Michigan--Detroit--Social life and customs Ethnic groups--Humor Ethnic groups--Michigan--Detroit Ethnic groups--Religious life Folk-songs--United States German Americans--Michigan--Detroit--Social life and customs