PDF Hosted at the Radboud Repository of the Radboud University Nijmegen

Total Page:16

File Type:pdf, Size:1020Kb

PDF Hosted at the Radboud Repository of the Radboud University Nijmegen PDF hosted at the Radboud Repository of the Radboud University Nijmegen The following full text is a publisher's version. For additional information about this publication click this link. http://hdl.handle.net/2066/113330 Please be advised that this information was generated on 2018-07-08 and may be subject to change. зу' WILLY JANSEN WOMENI \Г ч •ν) V(7 \] \S¿) ¿ ь ШШJ LEIDEN - E.J. BRILL WOMEN WITHOUT MEN WOMEN WITHOUT MEN GENDER AND MARGINALITY IN AN ALGERIAN TOWN PROEFSCHRIFT TER VERKRIJGING VAN DE GRAAD VAN DOCTOR IN DE SOCIALE WETENSCHAPPEN AAN DE KATHOLIEKE UNIVERSITEIT TE NIJMEGEN OP GEZAG VAN DE RECTOR MAGNIFICUS PROF DR В M F VAN IERSEL VOLGENS BESLUIT VAN HET COLLEGE VAN DECANEN IN HET OPENBAAR TE VERDEDIGEN OP DONDERDAG 29 JANUARI 1987 DES NAMIDDAGS TE 3 Э0 UUR DOOR WILHELMINA HELENA MARIA JANSEN geboren te Bemmel LEIDEN E.J. BRILL 1987 Promotores: Prof. Dr A. BLOK; Prof. Dr J. R. T. M. PETERS For our daughters Amina and Miriam TABLE OF CONTENTS LIST OF TABLES, FIGURES AND MAPS ix ACKNOWLEDGEMENTS xi PREFACE xiii The fieldwork xv I THEORETICAL CONSIDERATIONS 1 Women without men as socially marginal 1 Economic adjustment 7 Women without men as culturally marginal 9 II MAIMUNA. 17 Housing conditions 28 The growth of the town 24 External influences 29 Earning a living 34 III CULTURAL MEDIATORS 43 The mistress of the baths 43 Back-scrubbers 45 Bathing and purification 49 Purity and gender 56 Conclusion 59 IV BETWEEN LIFE AND DEATH 62 Washers of the dead 62 Power over the fate of the soul 68 Death and gender 72 V RELIGIOUS AGENTS 79 Servants of the saints 79 The decline of the sisters of the brotherhood. 82 Religion and gender 86 Penance by trance 91 Trance and gender 95 viii Table of contents VI WORKING MAGIC 105 Specialists in sorcery 105 Love with a few hairs Ill Who is the real sorcerer? 120 VII ASSISTANTS IN FERTILITY AND BIRTH 131 Custodians of virginity 131 Guards of the bridal room 135 Advisers on fertility 141 Women who cut umbilical cords 151 From heavenly wages to hard money 155 VIII DISTURBERS OF THE SEXUAL ORDER 160 Courtesans and prostitutes 160 Free love versus conjugal fidelity 165 The proxemics of prostitution 175 Musicians 190 Songs about women without men 196 IX BETWEEN DOMESTIC AND PUBLIC WORK 200 Maids and foster daughters 200 Casual domestic workers 207 Peddlers 211 X GOING PUBLIC 223 Service workers 223 Careerwomen 229 Politicians 232 Daughters of widows 238 Changes in women ' s work 241 XI CONCLUSION 244 NOTES 250 APPENDIX, TABLES 265 GLOSSARY 272 BIBLIOGRAPHY 275 SAMENVATTING 295 CURRICULUM VITAE 301 Table of contents ix TABLES, FIGURES AND MAPS Tables A. Employed residents by economic activity and socio-professional category 266 B. Employed residents by economic activity and sex 267 C. Employed women by sector 267 D. Employed population in Algeria by sex and qualification 268 E. Employed women by age cohort and professional category 269 F. Distribution of income 270 G. Girls in school in Algeria 271 Figures and maps 1. Map of Algeria xviii 2. Map of Maimuna 16 3. Population growth 22 4. Posing on a threshold facing page 182 5. Women in a masculine posture facing page 182 6 . Street in Biskra ± 1900 facing page 183 7. Street in Algiers ± 1900 facing page 183 8. Marital status according to age in Algeria 265 ACKNOWLEDGEMENTS I wish to thank the Algerians who helped me for their hospitality, sympathy, humour, and willingness to tell me about their lives. I am especially indebted to my three friends who offered me a home, and who shared their warmth, their time, their joys and their sufferings with me. I truly enjoyed living with them. I am very grateful to Mahfoud Bennoune for his faith in me and for his support at times when the obstacles seemed unsurmountable. Dorothy Bennoune lent me her home and her ear whenever I needed them. Ahmed Ben-Naoum offered help which would have been gladly accepted under other circum­ stances. I have a long-standing debt to Kees Jansen, my father, and to Tugrul liter and Rod Aya for their encouragement at critical moments in my intellectual life. My partner in life skillfully combined involvement with a proper distance. I am thankful to William Christian, who with great skill and speed corrected errors in grammar and style. Students, colleagues and friends have contributed in various ways to the ideas developed here. I appre­ ciate their encouragement, suggestions and help. Finally, thanks are due to Ria de Vos for co-mother­ ing, Marijke Ristivojcevic-Lefering and Lutgard Simons-Roeien for typing the manuscript on a word- processor, André Kalden for drawing the maps and L.W. Bonbrake for showing that writing a thesis can be fun. The following institutions provided research facilities: the Institute of Cultural and Social Anthropology in Nijmegen; the Institut National d'Etude et d'Analyses pour la Planifica­ tion; the Centre de Recherches en Economie Appli­ quée; the Institut des Techniques de Planification et d'Economie Appliquée; and the Centre de Recherches Anthropologiques, Préhistoriques et Eth­ nographiques in Algiers and the Centre de Recherches et d'Etudes sur les Sociétés Méditerranéennes and the Section d'Outre-Mer des Archives Nationales de France, both in Aix-en-Provence, France. PREFACE One early morning in the summer of 1976, Warda calls for me. A few minutes after six we leave the small oasis in Algeria's eastern sand desert to walk the two kilometers to the municipal centre. There will be an instruction session for the heads of the female polling-committees, for the National Charter will be put to the vote. Warda represents her village. She is an illiterate, old peasant woman, married to a man who is mentally handi­ capped. She lives with her eldest son and his family. Warda is a forceful character. For the last seven years she has been a member of the FLN, Algeria's only political party. At the request of the party-cell leader of her village she became the representative for the national women's organ­ ization (UNFA), and for the last few years she has been a member of the municipal council. Yet she is dissatisfied with her political influence. In the council the men will not listen to her, she says, because "men don't like it if women want freedom. They don't like the truth here and I like the truth." She also complains about the village women who do not want to talk with her about socialism and politics. "They only ask what they will get in return." Yet, she has managed to win the confi­ dence of a number of women because of her other skills: she is well known as a midwife and as attendant to the dying. Fatima, another woman at the meeting, has a simi­ lar story. She is a sturdy, illiterate, unveiled woman in her fifties. Since her husband divorced her and her married sons moved away, she lives alone, which is exceptional for a woman in Algeria. Like Warda, Fatima has been a longtime member and representative of the party and the women's organization. She was Warda s predecessor on the municipal council, and thinks that she was turned out because she was too troublesome. The male members of the council say that she was a lesbian but was redeemed by her pilgrimage to Mecca. She has quarrelled with the local party- boss because he refuses to hire a girl to write and read for the women. Fatima has another running dispute with the municipal secretary because he xiv Preface forced the poor to pay for the whitewashing of their houses when the President paid a visit to the region. Fatima protested and refused to pay. At this meeting she starts another dispute, now with Warda, about the futility of working any longer for the FLN or the UNFA. She says the vil­ lage women are right not to join the party or the women's organization. She has worked for years for the party and has never seen anything in return. I met Warda and Fatima while preparing my master thesis in a small Algerian oasis. Their personalities and the matter-of-course way in which they went about doing things Algerian women normally are not supposed to do fascinated me. They moved freely through public space, they went unveiled, they were politically active, they talked to (and even argued with) men who were not their relatives in meeting halls and they earned money. They seemed less hampered by the fact that they were women than one would expect in a society where strict sexual segregation and seclusion and veiling of women are still the dominant norms. I decided then that in my next study I would focus on all those women who do not fit in neatly with the standard picture of Algerian women as demure, secluded, veiled, and powerless victims of men. This thesis is the final result of that decision. It describes the lives of women like Warda and Fatima; only they do not live in a small oasis but in a large, rap­ idly developing town. These women described here all differ from gender norms. Concomitantly, they all occupy a marginal position in the family structure and kinship relations: they are widowed, divorced, or orphaned. They are women without men. Also included are those women who are virtually in the same position because their husband or father is ill, absent or incapacitated. The biographies and other material for this study were gathered from June 1981 to June 1982 in Maimuna, a large town in northern Algeria.
Recommended publications
  • Development and Interactions of Instructor and Student Musical Identities in a University Introductory Music Course for Non-Music Majors
    University of Northern Colorado Scholarship & Creative Works @ Digital UNC Master's Theses Student Research 5-3-2021 Development and Interactions of Instructor and Student Musical Identities in a University Introductory Music Course for Non-Music Majors Nicholas Booker [email protected] Follow this and additional works at: https://digscholarship.unco.edu/theses Recommended Citation Booker, Nicholas, "Development and Interactions of Instructor and Student Musical Identities in a University Introductory Music Course for Non-Music Majors" (2021). Master's Theses. 201. https://digscholarship.unco.edu/theses/201 This Dissertation/Thesis is brought to you for free and open access by the Student Research at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Master's Theses by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School DEVELOPMENT AND INTERACTIONS OF INSTRUCTOR AND STUDENT MUSICAL IDENTITIES IN A UNIVERSITY INTRODUCTORY MUSIC COURSE FOR NON-MUSIC MAJORS A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Music Nicholas Alexander Booker College of Performing and Visual Arts School of Music Music Education May 2021 This Thesis by: Nicholas Alexander Booker Entitled: Development and Interactions of Instructor and Student Musical Identities in a University Introductory Music Course for Non-music Majors has been approved as meeting the requirement for the Degree of Master of Music in the College of Arts, Humanities, and Social Sciences in the Department of Music program of Music Education Accepted by the Thesis Committee: ______________________________________________ Brian Casey, D.M.A., Chair, Advisor ______________________________________________ Nancy Glen, D.A., Committee Member Accepted by the Graduate School _____________________________________________________ Jeri-Anne Lyons, Ph.D.
    [Show full text]
  • Traditional Song
    3 TraditionalSong l3-9 Traditional Song Week realizes a dream of a comprehensive program completely devoted to traditional styles of singing. Unlike programs where singing takes a back seat to the instrumentalists, it is the entire focus of this week, which aims to help restore the power of songs within the larger traditional music scene. Here, finally, is a place where you can develop and grow in confidence about your singing, and have lots of fun with other folks devoted to their own song journeys. Come gather with us to explore various traditional song genres under the guidance of experienced, top-notch instructors. When singers gather together, magical moments are bound to happen! For Traditional Song Week’s ninth year and our celebration of The Swannanoa Gathering’s 25th Anniversary, we are proud to present a gathering of highly influential singers and musicians who have remained devoted over the years to preserving and promoting traditional song. Tuesday evening will be our big Hoedown for a Traditional Country, Honk-Tonk, Western Swing Song and Dance Night. Imagine singing to a house band of Josh Goforth, Robin and Linda Williams and Ranger Doug or Tim May, Tim O’Brien, and Mark Weems! So, bring your boots and hats, your voices and instruments, and get ready to bring on the fun! Our Community Gathering Time each day just after lunch affords us the opportunity to experience together, as one group, diverse topics concerning our shared love of traditional song. This year’s spotlight will feature folks who have been “on the road” and singing for quite a while.
    [Show full text]
  • Middle Eastern Music and Dance Since the Nightclub Era
    W&M ScholarWorks Arts & Sciences Book Chapters Arts and Sciences 10-30-2005 Middle Eastern Music and Dance since the Nightclub Era Anne K. Rasmussen William and Mary, [email protected] Follow this and additional works at: https://scholarworks.wm.edu/asbookchapters Part of the Ethnomusicology Commons Recommended Citation Rasmussen, A. K. (2005). Middle Eastern Music and Dance since the Nightclub Era. Anthony Shay and Barbara Sellers-Young (Ed.), Belly Dance: Orientalism, Transnationalism, And Harem Fantasy (pp. 172-206). Mazda Publishers. https://scholarworks.wm.edu/asbookchapters/102 This Book Chapter is brought to you for free and open access by the Arts and Sciences at W&M ScholarWorks. It has been accepted for inclusion in Arts & Sciences Book Chapters by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. B E L L .v C)ri enta ·l•i S.:I_I_ Transnationalism & Harem Fantasy FFuncling�orthe publication ofthis v\olume w\ as pro\Iv idcd in part by a grant from ✓ Ther Iranic a Institute, Irv\i ine California and b)y TThe C A. K. Jabbari Trust Fund Mazda Publisher• s Academic Publishers P.O. Box 2603 Co st a Mesa, CCa lifornia 92626 Us .S. A . \\ ww.mazdapub.com Copyright © 2005 by Anthony Shay and Barbara Sellers-Young All rights resserved. ' No parts of this publication may be reproduced or transmitted by any form or by any means without written permission from the publisher except in the case of brief quotations embodied in critical articles and re iews. Library of Congress Cataloging-in-Publication Data Belly Dance: Orientalism.
    [Show full text]
  • Pdf, 487.17 KB
    The Adventure Zone: Live – Halloween Special! Published on October 31st, 2018 Listen on TheMcElroy.family Griffin: Hey, everybody. Uh, real quick, I wanted to set up before you listen to this episode; what it is you‘re about to hear. Uh, instead of putting up a new episode of Amnesty this week, we thought it would be super appropriate to put out our episode one day early, today, on Wednesday, because it‘s Halloween! And our most recent live show from Seattle, Washington, is a very Halloween, spooktastic episode. It is probably my favorite live show we‘ve ever done. If you are not super into our live shows, I get it, but I would encourage you to give this one a try because, uh, it was very, very good, and we were very, very happy with it. Uh, very haunted, very spooky, uh, not suitable for people scared of spooky Halloween stuff, skeletons and mummies and stuff like that. But if you got the nerve to stick with it, I hope you enjoy this very haunted episode of The Adventure Zone Live. We will be back in, well… two weeks and one day. November 15th. So uh, that‘ll be the new episode. But for now, enjoy the spooks and scares of the Adventure Zone Live. [theme music plays] Audience: [cheers] Griffin: It is... it is the afternoon of the midsummer solstice festival, the annual harvest time observation of one of Faerun‘s most spectacular phenomena - the solstice eclipse. You witnessed this once before, during a fair atop the Bureau‘s headquarters, when voices in the sky knocked everyone unconscious.
    [Show full text]
  • The Sociology of Music and Social Distinctions: P!NK's Career As an Example of Social Linkage
    Digital Commons @ Assumption University Honors Theses Honors Program 2019 The Sociology of Music and Social Distinctions: P!NK's Career as an Example of Social Linkage David Cifarelli Assumption College Follow this and additional works at: https://digitalcommons.assumption.edu/honorstheses Part of the Music Commons, and the Social and Behavioral Sciences Commons Recommended Citation Cifarelli, David, "The Sociology of Music and Social Distinctions: P!NK's Career as an Example of Social Linkage" (2019). Honors Theses. 49. https://digitalcommons.assumption.edu/honorstheses/49 This Honors Thesis is brought to you for free and open access by the Honors Program at Digital Commons @ Assumption University. It has been accepted for inclusion in Honors Theses by an authorized administrator of Digital Commons @ Assumption University. For more information, please contact [email protected]. The Sociology of Music and Social Distinctions: P!NK’s Career as an Example of Social Linkage David Cifarelli Faculty Supervisor: Christopher Gilbert, Ph. D Department of English A Thesis Submitted to Fulfill the Requirements of the Honors Program at Assumption College Spring 2019 Cifarelli 1 Introduction Music is extremely social. It is one of the most expressive art forms our society holds. Due this expressive nature, the art of making music can hold many social connotations and directly involve or relate itself to social occurrences, movements and ideals. This intertwined relationship thus allows music to be a conductor of social change by existing and working within these various social constructs. In addition, those involved with the music-making business are, by association, also potential conductors of social change.
    [Show full text]
  • Ludacris the Red Light District Full Album Zip
    Ludacris, The Red Light District Full Album Zip ERROR_GETTING_IMAGES-1 Ludacris, The Red Light District Full Album Zip 1 / 2 Hood Starz.com].rar hosted on mediafire.com 80.48 MB, Ludacris Chicken N Beer ... Ludacris, The Red Light District Full ;Enoch; 17 videos; 147,667 views חנוך .(Album Zip Download.. Ludacris - The Red Light District (Full album + Bonus Track Last updated on Jun 26, 2015. Subscribe! Play all. Share.. Find Ludacris discography, albums and singles on AllMusic. ... The Red Light District. 2004. The Red Light District · Def Jam South · Disturbing tha Peace. 2005.. Tracklist: 1. Intro, 2. Number One Spot, 3. Get Back, 4. Put Your Money, 5. Blueberry Yum Yum, 6. Child Of The Night, 7. The Potion, 8. Pass Out, 9. Skit, 10.. 2000 - Ludacris - ''Back For The First Time''. Tracklist. 01. "U Got a Problem?" 02. .... 2004 - Ludacris - ''The Red Light District''. Tracklist. 01. "Intro" Timbaland. 02.. Ludacris ‎– The Red Light District. The Red Light District (CD, Album) album cover. More Images · All Versions · Edit Release · Sell This ... Tracklist Hide Credits .... The red light district. ludacris 320 kbps . Ludacris release therapy itunes . tags ludacris the red light district. Ludacris, the red light district full album zip .... Ludacris - The Red Light District review: Inconsistent, but primarily ... Release Date: 2004 | Tracklist .... I haven't heard a full one after this. Calc. Ludacris – Chicken-N-Beer – Album Zip Quality: iTunes Plus AAC M4A ... songs lyrics, songs mp3 download, download zip and complete full album rar. ... DVD made by of Ludacris visiting the red-light district, a growroom, .... 4 Download zip, rar.
    [Show full text]
  • Corel Ventura
    Anthropology / Middle East / World Music Goodman BERBER “Sure to interest a number of different audiences, BERBER from language and music scholars to specialists on North Africa. [A] superb book, clearly written, CULTURE analytically incisive, about very important issues that have not been described elsewhere.” ON THE —John Bowen, Washington University CULTURE WORLD STAGE In this nuanced study of the performance of cultural identity, Jane E. Goodman travels from contemporary Kabyle Berber communities in Algeria and France to the colonial archives, identifying the products, performances, and media through which Berber identity has developed. ON In the 1990s, with a major Islamist insurgency underway in Algeria, Berber cultural associations created performance forms that challenged THE Islamist premises while critiquing their own village practices. Goodman describes the phenomenon of new Kabyle song, a form of world music that transformed village songs for global audiences. WORLD She follows new songs as they move from their producers to the copyright agency to the Parisian stage, highlighting the networks of circulation and exchange through which Berbers have achieved From Village global visibility. to Video STAGE JANE E. GOODMAN is Associate Professor of Communication and Culture at Indiana University. While training to become a cultural anthropologist, she performed with the women’s world music group Libana. Cover photographs: Yamina Djouadou, Algeria, 1993, by Jane E. Goodman. Textile photograph by Michael Cavanagh. The textile is from a Berber women’s fuda, or outer-skirt. Jane E. Goodman http://iupress.indiana.edu 1-800-842-6796 INDIANA Berber Culture on the World Stage JANE E. GOODMAN Berber Culture on the World Stage From Village to Video indiana university press Bloomington and Indianapolis This book is a publication of Indiana University Press 601 North Morton Street Bloomington, IN 47404-3797 USA http://iupress.indiana.edu Telephone orders 800-842-6796 Fax orders 812-855-7931 Orders by e-mail [email protected] © 2005 by Jane E.
    [Show full text]
  • What Is Belly Dance?
    What Is Belly Dance? THE PYRAMID DANCE CO. INC. was originally founded in Memphis 1987. With over 30 years Experience in Middle Eastern Dance, we are known for producing professional Dancers and Instructors in belly dancing! The company’s purpose is to teach, promote, study, and perform belly dance. Phone: 901.628.1788 E-mail: [email protected] PAGE 2 CONTACT: 901.628.1788 WHAT IS BELLY DANCE? PAGE 11 What is the belly dance? Sadiia is committed to further- ing belly dance in its various The dance form we call "belly dancing" is derived from forms (folk, modern, fusion , traditional women's dances of the Middle East and interpretive) by increasing pub- North Africa. Women have always belly danced, at lic awareness, appreciation parties, at family gatherings, and during rites of pas- and education through per- sage. A woman's social dancing eventually evolved formances, classes and litera- into belly dancing as entertainment ("Dans Oryantal " in ture, and by continuing to Turkish and "Raqs Sharqi" in Arabic). Although the his- study all aspects of belly tory of belly dancing is clouded prior to the late 1800s, dance and producing meaning- many experts believe its roots go back to the temple ful work. She offers her stu- rites of India. Probably the greatest misconception dents a fun, positive and nur- about belly dance is that it is intended to entertain men. turing atmosphere to explore Because segregation of the sexes was common in the movement and the proper part of the world that produced belly dancing, men of- techniques of belly dance, giv- ten were not allowed to be present.
    [Show full text]
  • The ABDC 2021 Workshop Descriptions and Bios
    The ABDC 2021 Workshop Descriptions and Instructor Bios Table of Contents below alphabetical Ahava 2 Workshop Title: All the Feels 2 Workshop Title: Classical Egyptian Technique and Combos 2 Amara 3 Workshop Title: Let’s Prepare for an Amazing Week of Dance! - Free 3 Workshop Title: Let’s Talk about Swords 3 Amel Tafsout 4 Workshop Title: Nayli Dance of the Ouled Nayl 4 Workshop Title: City Dances: Andalusian Court Dance with Scarves 6 April Rose 8 Workshop Title: Dance as an Offering 8 Arielle 9 Workshop Title: Egyptian Street Shaabi: Mahraganat Choreography 9 Athena Najat 10 Workshop Title: Oriental Roots in Anatolia: Exploring the Greek branch of the Bellydance Tree 10 Bahaia 11 WorkshopTitle: Takht & Tahmila 11 DeAnna 12 Workshop Title: Spins and Turns! 12 Devi Mamak 14 Workshop Title: Hot Rhythms, Cool Head 14 Lily 15 WorkshopTitle: Rhythms 101 15 Loaya Iris 15 WorkshopTitle: Let’s Go Pop! Modern Egyptian Style Technique and Combos. 15 Nessa 16 WorkshopTitle: Finding the Muse Within 16 Mr. Ozgen 17 WorkshopTitle: Turkish Bellydance 17 WorkshopTitle: Romani Passion 17 Roshana Nofret 18 Workshop Title: Poetry in Motion: Exquisite Arms & Hands for All Dancers 18 Stacey Lizette 19 Workshop Title: By Popular Demand: A Customized Workshop Experience Based Exploring Common Challenges 19 Ahava Workshop Title: All the Feels Date/Time: Sunday, June 27, 2021,10-12pm Central Time Workshop Description: Do you need help with stage presence? Connecting to your audiences? Courage to push through the fourth wall on stage and fully entertain a crowd? Ahava presents exercises, tips and combinations on how to emote while on stage.
    [Show full text]
  • Fall 2019 Library Newsletter
    ChaptersTHE NEWSLEttER OF THE SHREWSBURY PUBLIC LIBRARY - FALL 2019 Children and their families enjoy the new outdoor “Construction Zone” play space. A letter from Library Director Ellen Dolan: As described by Wikipedia, “Being Mortal is In this issue I wish to tell you about a new a personal meditation on how people can community wide reading project we will be better live with age-related frailty, serious launching this fall. Some might recall our past illness, and approaching death. Gawande community-wide reading projects based on calls for a change in the way that medical the books My Antonia by Willa Cather, which professionals treat patients approaching focused on the immigrant experience, The their ends. He recommends that instead of Things They Carried by Tim O’Brien, which focusing on survival, practitioners should spoke to the veteran’s experience, and The focus on improving quality of life and enabling Adventures of Tom Sawyer by Mark Twain. well-being.” Pulitzer Prize-winning journalist Katherine Boo noted that Being Mortal is, “A Past projects were predominantly run by deeply affecting, urgently important book library staff and funded through a National — one not just about dying and the limits of Endowment for Humanities grant program medicine, but about living to the last with called the Big Read. In this new project autonomy, dignity, and joy.” the planning team is much broader. It includes representatives from various The project will include various informational town departments (Library, Senior Center, programs on topics such as estate planning, Shrewsbury Public Schools, Parks & Recreation, caregiver stress, and end-of-life planning.
    [Show full text]
  • How to Effectively Listen and Enjoy a Classical Music Concert
    HOW TO EFFECTIVELY LISTEN AND ENJOY A CLASSICAL MUSIC CONCERT 1. INTRODUCTION Hearing live music is one of the most pleasurable experiences available to human beings. The music sounds great, it feels great, and you get to watch the musicians as they create it. No matter what kind of music you love, try listening to it live. This guide focuses on classical music, a tradition that originated before recordings, radio, and the Internet, back when all music was live music. In those days live human beings performed for other live human beings, with everybody together in the same room. When heard in this way, classical music can have a special excitement. Hearing classical music in a concert can leave you feeling refreshed and energized. It can be fun. It can be romantic. It can be spiritual. It can also scare you to death. Classical music concerts can seem like snobby affairs full of foreign terminology and peculiar behavior. It can be hard to understand what’s going on. It can be hard to know how to act. Not to worry. Concerts are no weirder than any other pastime, and the rules of behavior are much simpler and easier to understand than, say, the stock market, football, or system software upgrades. If you haven’t been to a live concert before, or if you’ve been baffled by concerts, this guide will explain the rigmarole so you can relax and enjoy the music. 2. THE LISTENER'S JOB DESCRIPTION Classical music concerts can seem intimidating. It seems like you have to know a lot.
    [Show full text]
  • The Devil's Mistress
    1 THE DEVIL’S MISTRESS Genre: Historical tragedy Playwright: Brenda Love Zejdl This script is copyright protected and may not be reproduced, distributed or disseminated without the prior written permission of the author. Contact Information: Email: [email protected] Address: Dusni 1/928, Prague 11000, Czech Republic Cell phone: 011 (420) 739.078.229 Skype: brendazejdl The Devil’s Mistress 2 THE DEVIL’S MISTRESS SYNOPSIS: This play is inspired by actual incidents from 1620. Acts I and III are set in a prison in Leonberg, Germany and Act II takes place in the Prague castle. KATHARINA is the mother of the King’s Chief Mathematician, JOHANNES KEPLER. She is imprisoned in a dungeon and pressured to confess to witchcraft; first by treachery and then by intimidation through being shown torture instruments used on another woman while her son debates the validity of witchcraft trials with JEAN BODIN, the leading demonologist of that time, (in reality Bodin died in 1596, over 20 years before and never met Kepler). The result of this debate will determine her fate: freedom, torture or execution. This is an expose filled with the political intrigues and corruption that existed during these witch trials. CAST OF CHARACTERS: [7-8 actors needed if 2 can double, 2 women & 6 men] KATHARINA KEPLER: [60+ yrs old] Johanne Kepler’s mother, an herbalist unjustly jailed for witchcraft. Pious, and disliked by people in her village for meddling and insolence. JOHANNES KEPLER: [40-50yrs old]- Kepler was a slight man with a goatee, wears a dark suit with a starched ruff collar; he was slightly stooped from bending over his calculations and he squinted from bad eyesight.
    [Show full text]