The Self in Society Rosencrantz and Guildenstern Are Dead Tom Stoppard

Total Page:16

File Type:pdf, Size:1020Kb

The Self in Society Rosencrantz and Guildenstern Are Dead Tom Stoppard Identity in the Age of Self-Indulgence: The Self in Society Honors 101• Dr. Klodt Rosencrantz and Guildenstern Are Dead Tom Stoppard (1966) Tomáš Straussler Theatre A Walk on the Water (1964) The Gamblers (1965) Tango (1966) Rosencrantz and Guildenstern Are Dead (1966) Lord Malquist and Mr. Moon (1966) Enter a Free Man (1968) The Real Inspector Hound (1968) Albert’s Bridge (1969) If You’re Glad I’ll Be Frank (1969) After Magritte (1970) Dogg’s Our Pet (1971) Jumpers (1972) Artist Descending a Staircase (1972) Travesties (1974) Dirty Linen and New-Found-Land (1976) 15-Minute Hamlet (1976) Every Good Boy Deserves Favour (1977) Night and Day (1978) Theatre Dogg's Hamlet, Cahoot's Macbeth (1979) Undiscovered Country (1979) On the Razzle (1981) The Real Thing (1982) The (15 Minute) Dogg's Troupe Hamlet (1982) The Love for Three Oranges (1983) Rough Crossing (1984) Dalliance (1986) Largo Desolato (1987) Hapgood (1988) Arcadia (1993) Indian Ink (1995) The Invention of Love (1997) The Seagull (1997) The Coast of Utopia (2002) Enrico IV (Henry IV) (2004) Rock 'n' Roll (2006) The Laws of War (2010) The Hard Problem (2015) Radioplays The Dissolution of Dominic Boot (1964) ‘M’ is for Moon Amongst Other Things (1964) If You’re Glad I'll be Frank (1966) Albert’s Bridge (1967) Where Are They Now? (1968) Artist Descending a Staircase (1972) The Dog It Was That Died (1982) In the Native State (1991) On Dover Beach (2007) Darkside (2013) Screenplays Three Men in a Boat (1975) The Boundary (1975) Despair (1978) Brazil (1985) Empire of the Sun (1987) Indiana Jones and the Last Crusade (1989) The Russia House (1990) Rosencrantz & Guildenstern Are Dead (1990) Shakespeare in Love (1998) Poodle Springs (1998) Enigma (2001) The Golden Compass (2005) Parade’s End (2012) Anna Karenina (2012) Tulip Fever (2014) Awards Evening Standard Award Most Promising Playwright (1967) Rosencrantz and Guildenstern Are Dead: London Theatre Critics Award Best New Play (1967) Rosencrantz and Guildenstern Are Dead: Tony Award Best Play (1968) New York Drama Critics’ Circle Best Play of the Year (1968) Albert's Bridge: Prix Italia (1968) Jumpers: Evening Standard Award Best Play (1972) Jumpers: London Theatre Critics Award for Best New Play (1972) Travesties: Evening Standard Award Best Comedy of the Year (1974) Travesties: Tony Award Best Play (1976) Travesties: New York Critics Award Best Play (1976) Night and Day: Evening Standard Award Best Play (1978) The Dog It Was That Died: Giles Cooper Award (1982) The Real Thing: Evening Standard Award Best Play (1982) The Real Thing: Tony Award Best Play (1984) The Real Thing: New York Critics Award Best Foreign Play (1984) In the Native State: Giles Cooper Award (1991) Arcadia: Critics' Circle Theatre Awards Best New Play (1993) Arcadia: Evening Standard Award Best Play of the Year (1993) Arcadia: Laurence Olivier Award Best New Play (1994) The Invention of Love: Evening Standard Award for Best Play (1997) Shakespeare in Love: Academy Award Best Original Screenplay (1998) Shakespeare in Love: Silver Bear Outstanding Achievement (1999) The Real Thing: Drama Desk Award Outstanding Revival of a Play (2000) The Real Thing: Tony Award Best Revival of a Play (2000) The Invention of Love: New York Drama Critics Circle Best Play (2001) The Coast of Utopia: Tony Award for Best Play (2007) The Critics’ Circle Award Distinguished Service to the Arts (2007) Dan David Prize Creative Rendering of the Past in Theatre (2008) The PEN Pinter Prize (2013) Laurel Award Screenwriting Achievement (2013) PEN/Allen Foundation Literary Service Award (2015) America Award in Literature (2017) David Cohen Prize (2017) .
Recommended publications
  • PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate
    PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized.
    [Show full text]
  • Some Reflections on the Analysis of Discourse and Dramatic Text: Stoppard's Jumpers
    Revista Alicantina de Estudios Ingleses 8 (1995): 161-75 Some Reflections on the Analysis of Discourse and Dramatic Text: Stoppard's Jumpers Jesús-Manuel Nieto García Universidad de Jaén ABSTRACT Our proposal in this paper is basically to analyse dramatic texts according to the structure of those parts whose purpose is mainly dialogic in nature, mainly monologic, or, finally, those parts that emphasise the connection between writer and reader (or producer) from the organisational point of view. At the same time we also intend to study some basic pragmatic points such as reference, the informative nature of discourse, the kinds of illocutionary acts present in the text and the conversational norms broken. With this purpose in mind, we propose the application of a method of analysis of dramatic discourse to the play Jumpers, by Tom Stoppard. 1. Introduction and general layout of the analysis In recent years there have been many inherently discursive approaches to the analysis of drama, for instance, by Burton, Elam, Sherzer ("Dialogic Incongruities in the Theater of the Absurd" and "Langage litteraire et langage social"), Widdowson, Noguchi, Gautam, Gautam and Sharma, Golopentia-Eretescu, Simpson, Hermán, Short and Bennison.1 All these approaches somehow seem to miss the various interactive actions carried out by the text. From that point, we intend to evolve towards a method of analysis of drama covering this aspect. With this purpose in mind we cannot simply ignore other previous points which are essential to the analysis of any ldnd of discourse, and which are basically pragmatic in nature, but in any case the interactive purpose of the text itself is first and foremost and affects the analysis as a whole, and this is why our analysis of the dramatic text is presented in six columns, each corresponding to a different aspect concerning the pragmatic and interactive nature of the dramatic text.
    [Show full text]
  • E-ISSN: 2536-4596
    e-ISSN: 2536-4596 KARE- Uluslararası Edebiyat, Tarih ve Düşünce Dergisi KARE- International Journal of Literature, History and Philosophy Başlık/ Title: Parody and Mystery in Tom Stoppard’s The Real Inspector Hound and Jumpers Yazar/ Author ORCID ID Kenan KOÇAK 0000-0002-6422-2329 Makale Türü / Type of Article: Araştırma Makalesi / Research Article Yayın Geliş Tarihi / Submission Date: 4 Ekim 2019 Yayına Kabul Tarihi / Acceptance Date: 18 Kasım 2019 Yayın Tarihi / Date Published: 25 Kasım 2019 Web Sitesi: https://karedergi.erciyes.edu.tr/ Makale göndermek için / Submit an Article: http://dergipark.gov.tr/kare Parody and Mystery in Tom Stoppard’s The Real Inspector Hound and Jumpers Yazar: Kenan KOÇAK ∗ Tom Stoppard’ın Gerçek Müfettiş Hound (The Real Inspector Hound) ve Akrobatlar (Jumpers) Oyunlarında Parodi ve Gizem1 Özet: Tom Stoppard, Çekoslavakya doğumlu ve İngilizce’yi sonradan öğrenmiş olması sebebiyle, anadili İngilizce olan yazarlara nazaran dile daha hâkim ve dilin imkanlarını daha iyi kullanabilen, kelimelerle oynamada mahir; komik diyaloglar, yanlış anlaşılmaya mahal vermeler ve beklenmedik cevaplar yaratabilen usta bir oyun yazarıdır. Kendisi öyle olduğunu reddetse de oyunlarında kimliğin ve hafızanın önemi, gerçek ve görünen arasındaki ilişki, hayatın sıkıntıları, kendinden ve kendinden önceki yazarlardan esinlenme ve ödünç alma gibi postmodern ve absürd tiyatronun tipik özelliklerini görmek mümkündür. İlk defa 1968 yılında sergilenen Gerçek Müfettiş Hound (The Real Inspector Hound) oyunu Agatha Christie’nin 1952 yapımı Fare Kapanı (The Mousetrap) oyununun bir parodisiyken Akrobatlar (Jumpers) akademik felsefenin satirik bir eleştirisidir. Stoppard, bu makalede incelenen Gerçek Müfettiş Hound ve Akrobatlar adlı oyunlarında kurgusunu oyunlarının başında yarattığı bir gizem üzerine inşa eder. Bu gizem Gerçek Müfettiş Hound’da sahneye diğer aktörlerce fark edilmeyen bir ceset koyarak gerçekleştirilirken Akrobatlar’ın en başında akrobatlardan birinin öldürülmesi ve kimin öldürdüğünün de oyun boyunca söylenmemesiyle sağlanır.
    [Show full text]
  • Shakes in Love STUDYGUIDE
    Study Guide for Educators Based on the screenplay by Marc Norman and Tom Stoppard Adapted for the stage by Lee Hall Lyrics by Carolyn Leigh Music by Paddy Cunneen This production of Shakespeare In Love is generously sponsored by: Emily and Dene Hurlbert Linda Stafford Burrows Ron and Mary Nanning Ron Tindall, RN Shakespeare in Love is presented by special arrangement with Samuel French Inc 1 Welcome to the Pacific Conservatory Theatre A NOTE TO THE TEACHER Thank you for bringing your students to the Pacific Conservatory Theatre at Allan Hancock College. Here are some helpful hints for your visit to the Marian Theatre. The top priority of our staff is to provide an enjoyable day of live theatre for you and your students. We offer you this study guide as a tool to prepare your students prior to the performance. SUGGESTIONS FOR STUDENT ETIQUETTE Note-able behavior is a vital part of theater for youth. Going to the theater is not a casual event. It is a special occasion. If students are prepared properly, it will be a memorable, educational experience they will remember for years. 1. Have students enter the theater in a single file. Chaperones should be one adult for every ten students. Our ushers will assist you with locating your seats. Please wait until the usher has seated your party before any rearranging of seats to avoid injury and confusion. While seated, teachers should space themselves so they are visible, between every groups of ten students. Teachers and adults must remain with their group during the entire performance.
    [Show full text]
  • Talking Book Topics November-December 2017
    Talking Book Topics November–December 2017 Volume 83, Number 6 Need help? Your local cooperating library is always the place to start. For general information and to order books, call 1-888-NLS-READ (1-888-657-7323) to be connected to your local cooperating library. To find your library, visit www.loc.gov/nls and select “Find Your Library.” To change your Talking Book Topics subscription, contact your local cooperating library. Get books fast from BARD Most books and magazines listed in Talking Book Topics are available to eligible readers for download on the NLS Braille and Audio Reading Download (BARD) site. To use BARD, contact your local cooperating library or visit nlsbard.loc.gov for more information. The free BARD Mobile app is available from the App Store, Google Play, and Amazon’s Appstore. About Talking Book Topics Talking Book Topics, published in audio, large print, and online, is distributed free to people unable to read regular print and is available in an abridged form in braille. Talking Book Topics lists titles recently added to the NLS collection. The entire collection, with hundreds of thousands of titles, is available at www.loc.gov/nls. Select “Catalog Search” to view the collection. Talking Book Topics is also online at www.loc.gov/nls/tbt and in downloadable audio files from BARD. Overseas Service American citizens living abroad may enroll and request delivery to foreign addresses by contacting the NLS Overseas Librarian by phone at (202) 707-9261 or by email at [email protected]. Page 1 of 128 Music scores and instructional materials NLS music patrons can receive braille and large-print music scores and instructional recordings through the NLS Music Section.
    [Show full text]
  • On the Razzle by Tom Stoppard, Johann Nestroy #UL2XDHNVFOK
    On the Razzle Tom Stoppard, Johann Nestroy Click here if your download doesn"t start automatically On the Razzle Tom Stoppard, Johann Nestroy On the Razzle Tom Stoppard, Johann Nestroy Comedy Characters: 15 male, 10 female, extras, plus 6 musicians. Various interior and exterior sets or unit set. This recent hit in London is a free adaptation of the 19th century farce by Johann Nestroy that provided the plot for Thornton Wilder's The Merchant of Yonkers, which led to The Matchmaker, which led to Hello, Dolly. The story is basically one long chase, chiefly after two naughty grocer's assistants who, when their master goes off on a binge with a new mistress, escape to Vienna on a spree. "While preserving the beautiful intricacies of this construction, Stoppard has embellished Razzle with a dazzle of verbal wit an unremitting firework display of puns, crossword puzzle tricks and sly sexual innuendos." London Daily Telegraph . "Apart from Jumpers and The Importance of Being Earnest there may be no script in English funnier than On the Razzle." London Observer. Download On the Razzle ...pdf Read Online On the Razzle ...pdf Download and Read Free Online On the Razzle Tom Stoppard, Johann Nestroy From reader reviews: Thomas Britton: Why don't make it to be your habit? Right now, try to prepare your time to do the important work, like looking for your favorite book and reading a guide. Beside you can solve your problem; you can add your knowledge by the publication entitled On the Razzle. Try to make book On the Razzle as your friend.
    [Show full text]
  • 9781412929998.Pdf
    Duck-3494-Prelims.qxd 1/16/2007 10:39 AM Page i Human Relationships Duck-3494-Prelims.qxd 1/16/2007 10:39 AM Page ii Duck-3494-Prelims.qxd 1/16/2007 10:39 AM Page iii Human Relationships 4th Edition Steve Duck Duck-3494-Prelims.qxd 1/16/2007 10:39 AM Page iv © Steve Duck 2007 First published 2007 Apart from any fair dealing for the purposes of research or private study, or criticism or review, as permitted under the Copyright, Designs and Patents Act, 1988, this publication may be reproduced, stored or transmitted in any form, or by any means, only with the prior permission in writing of the publishers, or in the case of reprographic reproduction, in accordance with the terms of licences issued by the Copyright Licensing Agency. Enquiries concerning reproduction outside those terms should be sent to the publishers. SAGE Publications Ltd 1 Oliver’s Yard 55 City Road London EC1Y 1SP SAGE Publications Inc. 2455 Teller Road Thousand Oaks, California 91320 SAGE Publications India Pvt Ltd B 1/I 1 Mohan Cooperative Industrial Area Mathura Road, New Delhi 110 044 India SAGE Publications Asia-Pacific Pte Ltd 33 Pekin Street #02-01 Far East Square Singapore 048763 British Library Cataloguing in Publication data A catalogue record for this book is available from the British Library ISBN 978-1-4129-2998-1 ISBN 978-1-4129-2999-8 (pbk) Library of Congress Control Number: 2006929060 Typeset by C&M Digitals (P) Ltd, Chennai, India Printed in Great Britain by The Alden Press, Witney Printed on paper from sustainable resources Duck-3494-Prelims.qxd 1/16/2007
    [Show full text]
  • This Electronic Thesis Or Dissertation Has Been Downloaded from Explore Bristol Research
    This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Park-Finch, Heebon Title: Hypertextuality and polyphony in Tom Stoppard's stage plays General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. Hypertextuality and Polyphony in Tom Stoppard's Stage Plays Heebon Park-Finch A dissertation submitted to the University of Bristol in
    [Show full text]
  • From Stage to Page with Author Hermione Lee & Actor Fiona Reid
    TORONTO INTERNATIONAL FESTIVAL OF AUTHORS ANNOUNCES TOM STOPPARD: FROM STAGE TO PAGE WITH AUTHOR HERMIONE LEE & ACTOR FIONA REID This free, virtual event will take place live on March 6 and feature scene performances of Stoppard’s best-known work Toronto, February 23, 2021 – The Toronto International Festival of Authors (TIFA) is pleased to announce the innovative interview and performance event Tom Stoppard: From Stage to Page with Hermione Lee, which will stream live and for free with registration on March 6, 2021 at 3pm (ET) on FestivalofAuthors.ca. The event will feature leading literary biographer Hermione Lee joined in conversation with acclaimed Canadian actor Fiona Reid to discuss Lee’s newest book, Tom Stoppard: A Life (Knopf 2021). The pair will explore Lee’s biography of Stoppard, who has been hailed widely as the world’s greatest living playwright, and discuss Lee’s first experience documenting a living subject. Punctuating the conversation and representing Stoppard’s broad oeuvre, will be a selection of pre- recorded scene performances directed by David Storch, presented in partnership with Canadian Stage. Tom Stoppard’s career spans twentieth century theatre and cinema, from his first produced stage play, the iconic Rosencrantz and Guildenstern Are Dead in 1966, and the success of the film Shakespeare in Love in 1998 (co-written with Marc Norman), to his last and most autobiographical 235 Queens Quay West, Toronto ON M5J 2G8 Canada | Registered Charity #881940985RR000 Page 1/3 work Leopoldstadt, performed on stage in early 2020. Lee will share her insights on Stoppard, derived from documenting the elusive and private man through her exploratory conversations with him directly, and her unprecedented access to his private papers and countless interviews with famous figures who knew him, including Felicity Kendal and Steven Spielberg.
    [Show full text]
  • The Writer and Director
    The writer and director Specific learning outcomes Students will: • understand the process of developing this script. • examine how a scene in the play has been developed by the director. • understand the writer’s purpose in developing this play • understand and be able to describe the features of Stoppard’s writing • identify key ideas in the play. [These learning outcomes relate to the Communication and Interpreting in Drama (CI) and Understanding Drama in Context (UC) strands in The Arts in the New Zealand Curriculum.] Tom Stoppard “If I wanted to change the world, the last thing I would do is write a play.” Tom Stoppard Tom Stoppard was born Tomas Straussler on 3 July 1937 in Zlín, Czech Republic. Stoppard’s father, Eugene Straussler, was a company physician whose Czech company sent the family to a branch factory in Singapore in 1938/39. After the Japanese invasion, his father stayed on and was killed in a prisoner of war camp, but Mrs Straussler and her two sons escaped to India, where she married a British officer, Kenneth Stoppard, in 1946. At the age of nine, Tom and his family went to live in England. Tom Stoppard (he assumed his stepfather’s surname) quit school at the age of 17 and started his career as a journalist in Bristol. He began to write plays in 1960 after moving to London. Travesties: The writer and director, page 1 Accessed from The Arts/Ngā Toi materials, www.tki.org.nz/r/arts/drama/travesties Stoppard’s bibliography of plays, radio dramas and film scripts is extensive.
    [Show full text]
  • For Those Who Won't Fail Themselves
    ~For Those Who Won’t Fail Themselves~ Black Sun Imperium 2 Mine is a Heart of Carnelian, Crimson as Murder on a Holy Day. Mine is a Heart of Corneal, the Gnarled Roots of a Dogwood and the Bursting of Flowers. I am the Broken Wax Seal on my Lover's Letters. I am the Phoenix, the Fiery Sun, Consuming and Resuming Myself. I Will what I Will. Mine is a Heart of Carnelian, Blood Red as the Crest of a Phoenix. ~To My Beloved Master Enlil Hiro-kura Hoshigaoka~ 3 Phagos Angmar Hoshigaoka Black Sun Imperium Bringing Forth the Noesis of the Ancient Darklords 4 Black Sun Imperium Index Foreword ………………………………….. 7 Preface …………………………………... 9 Imperium of the Black Sun …………………………………On 16 The Deathtrap of Mental Inertia: The Yoke of the Herd ………………………………. Two 26 The Black Sun ……………………………… . Thr 35 Darklords in Disguise ……………………………… Four 55 The 5 Second Rule ……………………………… Fi 91 The Abysmal Bridge ………………………………… Six 100 The Bridge of Manifestation ………………………………… S n 122 Prelude to the Styx ………………………………… ight 130 The Styx ov Power ………………………………… Nin 144 The Styx ov Wealth ………………………………… Ten 199 The Styx ov Eminence ………………………………… le n 220 The Styx ov Strife ………………………………… Twl 252 The Nine Pointed Star Black Sun Working ………………………………… . 13 266 Glossary ………………………………….. 274 List of Resources …………………………………… 277 5 6 Foreword Foreword from the Editor When first I was asked to proof read and correct this book, I had no idea what to expect; I myself was an open book as far as this subject was concerned. Always a fan of Darkside characters but never having done too much research into the subject, I had no formed opinions and absolutely no idea there was a culture dedicated to living life in this manner.
    [Show full text]
  • Works by Tom Stoppard
    Works by Tom Stoppard ‘A Play In Three Acts’ 56n, 463n, 581n, 582n Dogg’s Hamlet, Cahoot’s Macbeth xxiv, A Separate Peace 499, 528n xxvi, 55, 176, 354n, 393, 423, 557, 582 A Walk on the Water 516 After Magritte xxxi, 5, 8–11, 18, 39, 55–56, Empire of the Sun 7, 414, 440n 437, 470, 491, 504, 504n, 535n, 581 Enigma 77 Albert’s Bridge 155, 551 Enter a Free Man 254, 399, 454, 516n, 524, Anna Karenina 257 560, 560n, 583 Another Moon Called Earth 37n, 121, 156, 239, Every Good Boy Deserves Favour xxv–xxvi, 239n, 320, 323, 441, 443, 455, 582 xxix, 50–52, 55, 56, 59n, 90, 121, 136, Arcadia xxii, xxiv–xvii, 15, 17, 23, 37, 182–184, 235–237, 286–289, 294, 298, 38–41, 55, 74–79, 88, 88n, 118n, 126, 327n, 381–384, 437, 447, 473, 479, 136–152, 179, 185, 212, 222, 231, 234, 238, 490, 496n, 582 248, 260, 309, 313, 315, 322, 337, 347, 350–352, 369, 377n, 398n, 399, 407, ‘First Person’ 244n 412, 418, 424, 436n, 441, 451, 470, 473, ‘Freedom but thousands are still 488–489, 505, 514, 521, 523, captive’ 277n 531, 552, 566, 568–572, 575, 578–579, Funny Man 458, 559 581, 583 Article on James Thurber 5 Galileo 144, 258–259, 260, 471 Artist Descending a Staircase xxiii, xxvi, 11–14, 26, 62, 63, 64, 64n, 66, 118, 120–121, Hapgood xxiii–xxvi, xxvii–xxix, 15, 40, 153n, 157–159, 236n, 238, 326, 329, 352, 52, 55, 56, 127, 129, 135–137, 143, 145, 363, 370–372, 423, 533, 551, 560–565, 222n, 238, 258, 259n, 260, 309, 343, 347, 579, 582 349, 351, 362, 365–369, 398n, 400–407, 400n, 423–424, 426, 428, 471, 478, 488, ‘But For The Middle Classes’ 251n, 261n, 492–495, 502–503,
    [Show full text]