FFRF Requests 'Bible-Free' Hotel Rooms
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Filatelicfiesta.Org April Fools' Or All Fools' Day Quarterly Notice Easter
Whole number 204 April 2014 Easter April Fools' or All Fools' Day aster, which celebrates Jesus Christ’s lthough not a holiday in its own E resurrection from the dead, is A right, is a notable day celebrated Christianity’s most important holiday. It in many countries on April 1. The day has been called a moveable feast because is marked by the commission of hoaxes it doesn’t fall on a set date every year, and other practical jokes of varying as most holidays do. Instead, Christian sophistication on friends, family members, churches in the West celebrate Easter on enemies, and neighbors, or sending them the first Sunday following the full moon on fool’s errand, the aim of which is to after the vernal equinox on March 21. embarrass the gullible. Traditionally, in Therefore, Easter is observed anywhere some countries, the jokes only last until 9 - 11—WE WILL NEVER FORGET between March 22 and April 25 every noon. If you play a trick on someone 2015 Club Officers year. Orthodox Christians use the Julian after this time you are the April Fool . calendar to calculate when Easter will Elsewhere, for example in Ireland or President occur and typically celebrate the holiday France, the jokes may last all day. Brian Jones. 408.927.6861 [email protected] a week or two after the Western churches, The origin of April Fool's Day is obscure. which follow the Gregorian calendar. One likely theory is that the modern Vice President The exact origins of this religious feast holiday was first celebrated soon after the David Occhipinti . -
On Editing Troilus and Criseyde Now
On Editing Troilus and Criseyde Now Steve Guthrie Abstract This essay advertises an interactive online edition of Troilus and Criseyde designed to offer student readers in particular access to the poem and to Chaucer’s Middle English without modernized spelling or translation. The essay describes the textual method of the edition and its approach to online publication and language instruction. Many years ago, I made a study of the text and language of Chaucer’s Troilus and Criseyde as the basis for a metrical analysis (Guth- rie 1988).1 At the time, a new edition of the poem was a tempting thought, but two perfectly good and relatively new scholarly editions were available in John Fisher’s Complete Poetry and Prose and Stephen Barney’s text in Larry Benson’s Riverside Chaucer. As these volumes increased in price, the thought returned, but Barry Windeatt’s freestanding paperback edition of the poem became widely available in this country in 2003, and once again the ground seemed to be have been covered. I returned to the idea a third time in the present decade because it seemed clear, even to an analogue mind more or less at sea in a digital age, that a real online edition of the poem could be useful to medievalists, and at the same time more useful to students, including Middle English lan- guage learners, than either a print edition or the currently available online texts, which were merely .pdf files scanned from older print editions.2 1. Detailed results of the study are in my unpublished 1985 Brown University dis- sertation, “Chaucer’s French Pentameter”. -
A Study of the Codicology of Four Early Manuscripts of the Canterbury Tales;! Aberystwyth, National Library of Wales MS
A Study of the Codicology of Four Early Manuscripts of the Canterbury Tales;! Aberystwyth, National Library of Wales MS. Peniarth 3920 (Hengwrt), Oxford, Corpus Christi College, MS. 198 (Corpus), London, British Library MS. Harley 7334 (Harley 4), and California, San Marino, Huntington Library MS. El. 26 C 9 (Ellesmere) Estelle Vivien Stubbs PhD The School of English: Department of English Language and Linguistics The University of Sheffield June 2006 Volume I Abstract A Study of the Codicology of Four Early Manuscripts of the Canterbury Tales; Aberystwyth, National Library of Wales MS. Peniarth 392D (Hengwrt), Oxford, Corpus Christi College, MS. 198 (Corpus), London, British Library MS. Harley 7334 (HarJey 4), and California, San Marino, Huntington Library MS. El. 26 C 9 (Ellesmere). This thesis is a study of the physical features of the four earliest manuscripts of the Canterbury Tales all dated to the first years after the death of Geoffrey Chaucer. I assess the ways in which codicological examination can contribute to the understanding of a complex textual tradition and inform the study of the text. The thesis is divided into two volumes. The first volume contains the seven chapters which make up the thesis. The first chapter contains a review of the printed editions of the poem since Caxton's first edition of 1476 and a summary of the most important contributions of scholarship in the twentieth century. It reveals that many influential editions and much scholarship on the textual tradition of the poem have been achieved with scant consultation of the extant manuscripts. The second chapter addresses the problems which have arisen as a result of this neglect and offers suggestions for a different approach to manuscript analysis which will be provided as a result of the examination of the manuscripts in the remainder of the thesis. -
Thesis-1991D-H293r.Pdf (7.293Mb)
RIBALD EXCUSES . By •' ' REED HARP II. Bachelor of .Arts The University ~f T~xas at Austin Austiz:l, Texas 1972 Master of Arts in English Incarriate Word College San Antonio, Texas < 1988 Submitted to the faculty of the Graduate College of the Oklahoma State University in partial fulfillment of the requirements ·for the degree of DOCTOR OF PHILOSOPHY December,. 1991 The·) I') )qC11.D \\d:~~jl"\_ COPYRIGHT By Reed Harp December, 1991 RIBALD EXCUSES Thesis Approval: Dean o the Graduate College ii ACKNOWLEDGMENTS I thank my wife -Linda for helping me with this project, for her patience and support, her remarkable intelligence. and good judgment, her care for our sons Gray and Wade, and her hard work with me while we both have been in graduate school and trying to maintain balanced lives. My parents- always have m~intained a safe port in the storm for me, a place of strong traditions and values. It is in public acknowledgments like these I am glad to thank them. I thank Professor Gordon Weaver for his unfathomable savvy and humor. While the Sultan of Shtick, he is the Keeper of Character--more, much more, than the Venerable Voice--yes, a master at the ,.disciplines of writing and reading. I have much more to l'earn from him. I have tried more than several times and in more than several ways to thank Professor Peter Rollins for his professionalism and collegiality, camaraderie, leadership, courage, humor, faith, determination, and friendship. But I have not found an adequate way, except to assure him that I will, ever, try to pass it on. -
A Glossary of Literary Terms/ Seventh Edition M
21 Qiossary of Literary Terms SEVENTH EDITION Si ÇCossary of Literary Verms SEVENTH EDITION M. H. ABRAMS CORNELL UNIVERSITY HEINLE & HEINLE *- THOMSON LEARNING AUSTRALIA CANADA MEXICO SINGAPORE UNITED KINGDOM UNITED STATES HEINLE & HEINLE * THOMSON LEARNING A Glossary of Literary Terms/ Seventh Edition M. H. Abrams PublishenEar/ McPeek Compositor: Impressions Acquisitions Editor: Claire Brantley Product Manager: John Meyers Developmental Editor: Camille Adkins Art Director: Sue Hart Production Editor: James McDonald Text Printer: Malloy Lithographing Project Editor: Louise Slominsky/Lisa A. Cooper Cover Printer: Phoenix Color Corp Copyright © 1999 Heinle & Heinle, a division of Thomson Learning, Inc. Thomson Learning ™ is For permission to use material from this text or a trademark used herein under license. product contact us: Tel 1-800-730-2214 Printed in the United States of America. 8 9 10 06 05 04 03 Fax 1-800-730-2215 Web www.thomsonrights.com For more information contact Heinle & Heinle, 25 Thomson Place, Boston, Massachusetts 02210 USA, or you can visit our Internet site at ISBN: 0-15-505452-X, http://www.heinle.com Library of Congress Catalog Card Number: 98-72577 All rights reserved. No part of this work covered by the copyright hereon may be reproduced or used in any form or by any means—graphic, electronic, or mechanical, including photocopying, recording, taping, Web distribution or information storage and retrieval systems—without the written permission of the publisher. To Ruth 4> Preface W This book defines and discusses terms, critical theories, and points of view that are commonly used to classify, analyze, interpret, and write the history of works of literature. -
A Glossary of Literary Terms
✵ A Glossary of Literary Terms ELEVENTH EDITION M. H. ABRAMS Cornell University GEOFFREY GALT HARPHAM National Humanities Center Australia • Brazil • Mexico • Singapore • United Kingdom • United States Copyright 2013 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. This is an electronic version of the print textbook. Due to electronic rights restrictions, some third party content may be suppressed. Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. The publisher reserves the right to remove content from this title at any time if subsequent rights restrictions require it. For valuable information on pricing, previous editions, changes to current editions, and alternate formats, please visit www.cengage.com/highered to search by ISBN#, author, title, or keyword for materials in your areas of interest. Copyright 2013 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. A Glossary of Literary Terms, © 2015, 2012, 2009 Cengage Learning Eleventh Edition M. H. Abrams and Geoffrey WCN: 02-200-208 Galt Harpham ALL RIGHTS RESERVED. No part of this work covered by the copyright herein may be reproduced, transmitted, stored, or used Product Director: Monica Eckman in any form or by any means graphic, electronic, or mechanical, Product Manager: Kate Derrick including but not limited to photocopying, recording, scanning, Content Developer: Rebecca digitizing, taping, Web distribution, information networks, or Donahue information storage and retrieval systems, except as permitted under Section 107 or 108 of the 1976 United States Copyright Act, Content Coordinator: Erin Bosco without the prior written permission of the publisher. -
For Preview Only
or... Geoffrey Chaucer’s Flying Circus By Burton Bumgarner © Copyright 2007, Pioneer Drama Service, Inc. Professionals and amateurs are hereby warned that a royalty must be paid for every performance, whether or not admission is charged. All inquiries regarding rights should be addressed to Pioneer Drama Service, Inc., PO Box 4267, Englewood, CO 80155. All rights to this play—including but not limited to amateur, professional, radio broadcast, television, motion picture, public reading and translation into foreign languages—are controlled by Pioneer Drama Service, Inc., without whose permission no performance, reading or presentation of any kind in whole or in part may be given. These rights are fully protected under the copyright laws of the United States of America and of all countries covered by the Universal Copyright Convention or with which the United States has reciprocal copyright relations, including Canada, Mexico, Australia and all nations of the United Kingdom. COPYING OR REPRODUCING ALL OR ANY PART OF THIS BOOK IN ANY MANNER IS STRICTLY FORBIDDEN BY LAW. On all programs, printing and advertising, the following information must appear: 1. The full name of the play 2. The full name of the playwright 3. The following notice: “Produced by special arrangement with Pioneer Drama Service, Inc., Englewood, Colorado” For preview only THE CANTERBURY TALES Or… Geoffrey Chaucer’s Flying Circus By BURTON BUMGARNER CAST OF CHARACTERS # of lines BORING SCHOLAR.....................lectures on Chaucer 11 HARRY BAILEY ..........................host of the Tabard Inn and the 117 narrator of The Canterbury Tales STAGE MANAGER ......................of the play 4 SIGN CHANGER .........................changes signs for each scene n/a GEOFFREY CHAUCER .................author of The Canterbury Tales; 59 unfocused WRONG PILGRIMS 1-4 ...............Thanksgiving pilgrims in the 4 wrong story MRS.