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Doctor Atomic
John Adams Doctor Atomic CONDUCTOR Opera in two acts Alan Gilbert Libretto by Peter Sellars, PRODUCTION adapted from original sources Penny Woolcock Saturday, November 8, 2008, 1:00–4:25pm SET DESIGNER Julian Crouch COSTUME DESIGNER New Production Catherine Zuber LIGHTING DESIGNER Brian MacDevitt CHOREOGRAPHER The production of Doctor Atomic was made Andrew Dawson possible by a generous gift from Agnes Varis VIDEO DESIGN and Karl Leichtman. Leo Warner & Mark Grimmer for Fifty Nine Productions Ltd. SOUND DESIGNER Mark Grey GENERAL MANAGER The commission of Doctor Atomic and the original San Peter Gelb Francisco Opera production were made possible by a generous gift from Roberta Bialek. MUSIC DIRECTOR James Levine Doctor Atomic is a co-production with English National Opera. 2008–09 Season The 8th Metropolitan Opera performance of John Adams’s Doctor Atomic Conductor Alan Gilbert in o r d e r o f v o c a l a p p e a r a n c e Edward Teller Richard Paul Fink J. Robert Oppenheimer Gerald Finley Robert Wilson Thomas Glenn Kitty Oppenheimer Sasha Cooke General Leslie Groves Eric Owens Frank Hubbard Earle Patriarco Captain James Nolan Roger Honeywell Pasqualita Meredith Arwady Saturday, November 8, 2008, 1:00–4:25pm This afternoon’s performance is being transmitted live in high definition to movie theaters worldwide. The Met: Live in HD series is made possible by a generous grant from the Neubauer Family Foundation. Additional support for this Live in HD transmission and subsequent broadcast on PBS is provided by the Alfred P. Sloan Foundation. Ken Howard/Metropolitan Opera Gerald Finley Chorus Master Donald Palumbo (foreground) as Musical Preparation Linda Hall, Howard Watkins, Caren Levine, J. -
Ascacut Paper 6/15/16, 10:12 AM
ASCAcut paper 6/15/16, 10:12 AM TO HEAL THE GAP BETWEEN SUBJECT AND PROTAGONIST: RESTORING FEMALE AGENCY WITH IMMERSION AND INTERACTIVITY Paper for ASCA Mini-Conference June 8, 2001, Amsterdam By Alison McMahan, Ph.D. Mieke Bal, in her book Reading "Rembrandt", critiques the so-called universalism of the myth genre of storytelling because this claim to universalism conceals the split between "the subject who tells the story about itself and the subject it tells about." (Mieke Bal, "Visual Story-Telling: Father and |Son and the Problem of Myth." From Reading "Rembrandt": Beyond the Word-Image Opposition, New York, Cambridge University Press, 1991,p.98). In her articulation of the differences between the latter two terms and her analysis of visuality in the literary accounts and of the Rembrandt images, Bal shows us how the method of discourse separates protagonist from subject, specifically, the female subject, and makes the role of protagonist inaccessible for other females. The voyeuristic spectator is invited into a position of internal focalization in Rembrandt’s etching, which incriminates the spectator, though she be female and feminist, into a site of “interpretants shaped by a male habit.” There are two solutions: the awareness created by an against-the-grain analysis, such as Kaja Silverman’s “productive looking” or to change how the story is told. Feminine agency, (“feminine” here is defined as the socially constructed ideas attached to the female sex. Poststructuralists feminists deconstruct texts in order to make explicit the power relations that structure discourse), on earth or between the pages, cannot be restored unless the gap between subject and protagonist is healed and re-adressed. -
Sex and Sin: the Magic of Red Shoes | Hilary Davidson
13. SEX AND SIN THE MAGIC OF RED SHOES1 hilary davidson The enduring potency of red shoes, both as real items of footwear and as sym- bol and cultural force, has fascinated people of different cultures in very diverse ways. The “power” of red shoes is not recent. The prestige of red heels in seven- teenth- and eighteenth-century European courts is well known. Subsequently, red shoes have taken on other charges. This chapter will focus on Hans Christian Andersen’s fairy tale, The Red Shoes (1845).2 This literary work created symbolic associations which have become part of everyday cultural “usage” today. The power of Andersen’s fairy tale lies in its capacity to “dematerialize” red shoes by replacing their physicality with a symbolic meaning (Figure 13.1). This infusion of meaning into an object is a significant example of how dress and shoes are far from trivial and trivializing affairs. It established a template for the way in which red shoes were appreciated and comprehended in the twentieth century, especial- ly by women. 272 / HILARY DAVIDSON The understanding of red shoes proposed by Andersen was not just the result of a literary imagination. The writer was informed by precise ideas and concepts related to red footwear that had been developed in the period before he wrote his story. The peculiar psychological intensity of red shoes must also be further examined by considering Andersen’s life and personality. The Danish author’s neurotic self-obsession remained a constant feature of his literary production. Many of the features included in The Red Shoes have a psychological endurance in contemporary culture. -
Marxist Feminism and Postmodern Elements in Angela Carter's Nights
INFOKARA RESEARCH ISSN NO: 1021-9056 Marxist Feminism and Postmodern Elements in Angela Carter’s Nights at the Circus R.Padhmavathi Ph.D Researchscholar Department of English Email id:[email protected] AnnamalaiUniversity ,Chidhambaram. Dr.A.Glory , Asst.professor, Department of English Annamalai University, Chidhambaram Abstract: This paper endeavors to examine critically and analytically how the Marxist feminism is developed in Angela Carter’s Nights at the Circus (1984), and how the postmodernistic ideas in her mind. It sheds light on the feminine themes and concerns, and in this novel Angela Carter speaks out lots of feminine matters and moves around strongly in her mind. Her lasting fascination with femininity as vision has until then been understood mainly in terms of a feminist critical project which identifies and rejects male-constructed images of women as a form of false consciousness. Keywords: Feminism, Marxism, Carnivalisation, Postmodernism Marxist Feminism and Postmodern Elements in Angela Carter’s Nights At The Circus Angela Carter’s achievements asa feminist are clearly understood only if we look at her novels with postmodern eyes. Her novels make no sense unless they are given a postmodern reading which can extricate the challenging thoughts on the essence of womanhood that lie entangled in fantasies, dreams, myths, and parodies. Through reading the novels of Angela Carter, it is noticeable that she goes in the femininity track in her fictional writings. HerNights at the Circus is a novel about the ways in which these dominant, frequently male-centered discourses of power marginalize those whom society defines as freaks, madmen, clowns, the physically and mentally deformed, and, in particular, women, so that they may be contained and controlled because they are all possible sources of the disordered disruption of established power. -
Shropshire Cover
Wolverhampton & Black Country Cover February 2020.qxp_Wolverhampton & Black Country Cover 22/01/2020 14:55 Page 1 THE RED SHOES RETURNS Your FREE essential entertainment guide for the Midlands TO THE MIDLANDS... WOLVERHAMPTON & BLACK COUNTRY WHAT’S ON FEBRUARY 2020 FEBRUARY ON WHAT’S COUNTRY BLACK & WOLVERHAMPTON Wolverhampton & Black Country ISSUE 410 FEBRUARY 2020 ’ WhatFILM I COMEDY I THEATRE I GIGS I VISUAL ARTS I EVENTSs I FOOD On wolverhamptonwhatson.co.uk inside: PART OF WHAT’S ON MEDIA GROUP GROUP MEDIA ON WHAT’S OF PART Yourthe 16-pagelist week by week listings guide AFTER HENRY Henry VIII’s wives visit the Grand Theatre in SIX TWITTER: @WHATSONWOLVES @WHATSONWOLVES TWITTER: BEN POOLE award-winning guitarist plays the blues at The Robin FACEBOOK: @WHATSONWOLVERHAMPTON FACEBOOK: @WHATSONWOLVERHAMPTON RAIN OR SHINE... places to visit during the WOLVERHAMPTONWHATSON.CO.UK February school holiday IFC Wolverhampton.qxp_Layout 1 22/01/2020 15:51 Page 1 Thursday 6th - Saturday 8th February at Thursday 13th February at 7.30pm Friday 14th February at 7.30pm 7.30pm, 1pm Friday Matinee Drama Drama Dance JANEJANE EYREEYRE LOOKING FOR WOLVERHAMTON'S EMERGENCEEMERGENCE TRIPLETR BILL LATIN QUARTER 2020 Tickets £10 Tickets £10 Tickets £10 Saturday 15th February at 7.30pm Friday 21st - Sunday 23rd February at Thursday 27th February at 7.30pm 7.00pm Friday and Saturday, 2.00pm Saturday and Sunday Drama Musical Theatre DRAMA YOURS SINCERELY FOOTLOOSE HOME OF THE WRIGGLER Tickets £10 Tickets £12, £10 conc Tickets £10 Contents February Wolves/Shrops/Staffs.qxp_Layout 1 22/01/2020 16:08 Page 2 February 2020 Contents The Queendom Is Coming.. -
Ull History Centre: Papers of Alan Plater
Hull History Centre: Papers of Alan Plater U DPR Papers of Alan Plater 1936-2012 Accession number: 1999/16, 2004/23, 2013/07, 2013/08, 2015/13 Biographical Background: Alan Frederick Plater was born in Jarrow in April 1935, the son of Herbert and Isabella Plater. He grew up in the Hull area, and was educated at Pickering Road Junior School and Kingston High School, Hull. He then studied architecture at King's College, Newcastle upon Tyne, becoming an Associate of the Royal Institute of British Architects in 1959 (since lapsed). He worked for a short time in the profession, before becoming a full-time writer in 1960. His subsequent career has been extremely wide-ranging and remarkably successful, both in terms of his own original work, and his adaptations of literary works. He has written extensively for radio, television, films and the theatre, and for the daily and weekly press, including The Guardian, Punch, Listener, and New Statesman. His writing credits exceed 250 in number, and include: - Theatre: 'A Smashing Day'; 'Close the Coalhouse Door'; 'Trinity Tales'; 'The Fosdyke Saga' - Film: 'The Virgin and the Gypsy'; 'It Shouldn't Happen to a Vet'; 'Priest of Love' - Television: 'Z Cars'; 'The Beiderbecke Affair'; 'Barchester Chronicles'; 'The Fortunes of War'; 'A Very British Coup'; and, 'Campion' - Radio: 'Ted's Cathedral'; 'Tolpuddle'; 'The Journal of Vasilije Bogdanovic' - Books: 'The Beiderbecke Trilogy'; 'Misterioso'; 'Doggin' Around' He received numerous awards, most notably the BAFTA Writer's Award in 1988. He was made an Honorary D.Litt. of the University of Hull in 1985, and was made a Fellow of the Royal Society of Literature in 1985. -
The Quest for Female Empowerment in Angela Carter's Wise Children
Ghent University Faculty of Arts and Philosophy “I AM NOT SURE IF THIS IS A HAPPY ENDING” THE QUEST FOR FEMALE EMPOWERMENT IN ANGELA CARTER’S WISE CHILDREN Supervisor: Dissertation submitted in partial fulfilment of Professor Marysa Demoor the requirements for the degree of “Master in de Taal- en Letterkunde: Engels” by Aline Lapeire 2009-2010 Lapeire ii Lapeire iii “I AM NOT SURE IF THIS IS A HAPPY ENDING” THE QUEST FOR FEMALE EMPOWERMENT IN ANGELA CARTER’S WISE CHILDREN The cover of Wise Children (New York: Farrar, Straus and Giroux, 2007) Lapeire iv ACKNOWLEDGEMENTS This dissertation could not have been written without the help of the following people. I would hereby like to thank… … Professor MARYSA DEMOOR for supporting my choice of topic and sharing her knowledge about gender studies. Her guidance and encouragement have been very important to me. … DEBORA VAN DURME and Professor SINEAD MCDERMOTT for their interesting class discussions of Nights at the Circus and Wise Children. Without their keen eye for good fiction, I might have never even heard of Angela Carter and her beautiful oeuvre. … Several very patient librarians at the University of Ghent. … A great deal of friends who at times mocked the idea of a „gender dissertation‟, yet always showed their support when it was due. I especially want to thank my loyal thesis buddies MAX DEDULLE and MARTIJN DENTANT. The countless hours we spent together while hopelessly staring at a world behind the computer screen eventually did pay off. Moreover, eternal gratitude and a vodka-Red Bull go out to JEROEN MEULEMAN who entirely voluntarily offered to read and correct my thesis. -
Feminist Subversion of Fairy-Tale Female Characters in Angela Carter's
100 ORIGINALNI NAUĈNI RAD DOI: 10.5937/reci1912100G UDC: 821.111.09-31 Karter A. 821.111.09:305-055.2"19" AnĊelka M. Gemović* University of Novi Sad Faculty of Philosophy FROM CAPTIVITY TO BESTIALITY: FEMINIST SUBVERSION OF FAIRY-TALE FEMALE CHARACTERS IN ANGELA CARTER’S “THE TIGER’S BRIDE” Abstract: This paper elaborates on Angela Carter‟s subversion of the fairy-tale genre in the tale from The Bloody Chamber and Other Stories titled “The Tiger‟s Bride”. The method of research combines researching relevant theoretical literature and thorough text analysis. The primary concern of this paper is the subversion of female characters in fairy tales as a means of advocating feminist attitudes. Relevant passages are used to exemplify Carter‟s feminism, with special reference to the subverted roles of the heroine of the tale. The female protagonist‟s transition from being a captive to becoming a beast is analysed, and her reinvented roles discussed and compared to the traits of the heroine from the classic Beauty and the Beast story written by De Beaumont. This is done in order to uncover the multilayered structure of Carter‟s work and hopefully determine the author‟s genuine purpose in subverting the fairy-tale genre as well as the message she wanted to convey. Key words: beast tales, The Bloody Chamber and Other Stories, Carter‟s feminism, Beauty and the Beast, women empowerment. * [email protected] 2 0 1 9 FROM CAPTIVITY TO BESTIALITY: FEMINIST SUBVERSION OF FAIRY- TALE FEMALE CHARACTERS IN ANGELA CARTER’S “THE TIGER’S BRIDE” 101 INTRODUCTION Angela Carter was an English novelist, short story writer, poet, journalist, professor and critic known for her feminist and nonconformist attitudes that she deliberately conveyed throughout her work. -
The Consumption of Angela Carter
The Consumption of Angela Carter: Women, Toody and Power EMMA PARKER A great writer and a great critic, V. S. Pritchett, used to sav that he swallowed Dickens whole, at the risk of indigestion. I swallow Angela Carter whole, and then I rush to buy Alka Seltzer. The "minimalist" nouvelle cuisine alone cannot satisfy my appetite for fiction. I need a "maximalist" writer who tries to tell us many things, with grandiose happenings to amuse me, extreme emotions to stir my feelings, glorious obscenities to scandalise me, brilliant and malicious expressions to astonish me. (Almansi 217) L Vs GUIDO ALMANSI suggests, consuming Angela Carter's fic• tion is simultaneously satisfying and unsettling. This is partly because, as Hermione Lee has commented, Carter "was always in revolt against the 'tyranny of good taste'" (316). As a cham• pion of moral pornography, a cultural dissident who dared to disparage Shakespeare, and a culinary iconoclast who criticised the highly-esteemed cookery writer Elizabeth David, Carter out• raged many people. Yet this impiety also gives her work its ap• peal.1 Like the critical essays, her fiction is deliciously "improper" in that it interrogates and rejects what Hélène Cixous calls the realm of the proper, a masculine economy based on the principles of authority, domination and owner• ship — a realm in which, disempowered and dispossessed, women are without property ("Castration" 42, 50). Her fiction has an unsettling effect precisely because Carter seeks to "up• set" the patriarchal order, in part through her representation of consumption, which, by revealing and refiguring the relation• ship between women, food, and power, challenges the struc• tures that underpin patriarchy. -
Cole Porter: the Social Significance of Selected Love Lyrics of the 1930S
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Unisa Institutional Repository Cole Porter: the social significance of selected love lyrics of the 1930s by MARILYN JUNE HOLLOWAY submitted in accordance with the requirements for the degree of MASTER OF ARTS in the subject of ENGLISH at the UNIVERSITY OF SOUTH AFRICA SUPERVISOR: PROFESSOR IA RABINOWITZ November 2010 DECLARATION i SUMMARY This dissertation examines selected love lyrics composed during the 1930s by Cole Porter, whose witty and urbane music epitomized the Golden era of American light music. These lyrics present an interesting paradox – a man who longed for his music to be accepted by the American public, yet remained indifferent to the social mores of the time. Porter offered trenchant social commentary aimed at a society restricted by social taboos and cultural conventions. The argument develops systematically through a chronological and contextual study of the influences of people and events on a man and his music. The prosodic intonation and imagistic texture of the lyrics demonstrate an intimate correlation between personality and composition which, in turn, is supported by the biographical content. KEY WORDS: Broadway, Cole Porter, early Hollywood musicals, gays and musicals, innuendo, musical comedy, social taboos, song lyrics, Tin Pan Alley, 1930 film censorship ii ACKNOWLEDGEMENTS I should like to thank Professor Ivan Rabinowitz, my supervisor, who has been both my mentor and an unfailing source of encouragement; Dawie Malan who was so patient in sourcing material from libraries around the world with remarkable fortitude and good humour; Dr Robin Lee who suggested the title of my dissertation; Dr Elspa Hovgaard who provided academic and helpful comment; my husband, Henry Holloway, a musicologist of world renown, who had to share me with another man for three years; and the man himself, Cole Porter, whose lyrics have thrilled, and will continue to thrill, music lovers with their sophistication and wit. -
Cole Albert Porter (June 9, 1891 October 15, 1964) Was An
Cole Albert Porter (June 9, 1891 October 15, 1964) was an American composer and songwriter. Born to a wealthy family in Indiana, he defied the wishes of his dom ineering grandfather and took up music as a profession. Classically trained, he was drawn towards musical theatre. After a slow start, he began to achieve succe ss in the 1920s, and by the 1930s he was one of the major songwriters for the Br oadway musical stage. Unlike many successful Broadway composers, Porter wrote th e lyrics as well as the music for his songs. After a serious horseback riding accident in 1937, Porter was left disabled and in constant pain, but he continued to work. His shows of the early 1940s did not contain the lasting hits of his best work of the 1920s and 30s, but in 1948 he made a triumphant comeback with his most successful musical, Kiss Me, Kate. It w on the first Tony Award for Best Musical. Porter's other musicals include Fifty Million Frenchmen, DuBarry Was a Lady, Any thing Goes, Can-Can and Silk Stockings. His numerous hit songs include "Night an d Day","Begin the Beguine", "I Get a Kick Out of You", "Well, Did You Evah!", "I 've Got You Under My Skin", "My Heart Belongs to Daddy" and "You're the Top". He also composed scores for films from the 1930s to the 1950s, including Born to D ance (1936), which featured the song "You'd Be So Easy to Love", Rosalie (1937), which featured "In the Still of the Night"; High Society (1956), which included "True Love"; and Les Girls (1957). -
Read Ebook {PDF EPUB} the Railway Children - the Original Classic Edition by E
Read Ebook {PDF EPUB} The Railway Children - The Original Classic Edition by E. Nesbit E Nesbit's classic The Railway Children accused of 'plagiarism' It is arguably the single most memorable episode of E Nesbit's much-loved children's book The Railway Children. The three children, Bobbie, Peter and Phyllis, playing close to the railway line, witness a landslide on to the tracks, and bravely save a train from crashing into it by waving warning flags made from the girls' red flannel petticoats. And when they succeed in stopping the train – in the nick of time – Bobbie falls down in a dead faint. But it has now emerged that the dramatic episode may not have been purely the result of Nesbit's imagination. Another children's book – published in 1896, nine years before The Railway Children appeared – includes an episode seemingly too similar for coincidence alone. In The House by the Railway by little-known writer Ada J Graves, middle-class children from the suburbs move to the countryside with their mother, just as Bobbie and her siblings do, and save a train from crashing into an obstacle on the line by waving a red jacket to halt it in its tracks. And, just as in The Railway Children (as seen on our TV screens each Christmas in the classic 1970 film), they are presented with engraved watches as a reward for their courage. Other similarities connect the two novels. Both books include an episode in which someone the children befriend on a passing train turns out to have a connection to somebody else in their story, and both end with an emotional family reunion.